adobo magazine | March - April 2013

The word on creativity

Matec Villanueva

INTERVIEW

Brillante Mendoza & Melvin Mangada THY WOMB

PUBLICIS MANILA CEO

Woman on Top

CENTERFOLD Melissa Crucillo JWT MANILA CEO

THE FIRM

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Issue 44 MARCH-APRIL 2013

E D I TO R ’ S N OT E March-April 2013, Issue 44

Seven, fabulous and counting ADOBO TURNS SEVEN THIS YEAR. Itches, heavens and highs aside, only on the internet – and, of course the canine – world would that be considered a long time. For the team behind adobo it has, at times, felt like an eternity. adobo launched in an era defined by flux – if not outright chaos – in an industry doomsayers have dismissed as a sunset sector.

But chaos isn’t all bad. If nothing else, it’s a great antidote for complacency. It forces brand owners to confront stark choices, Adapt or perish, as they say.

We have chosen the former, adapting our print product to the times, while extending our digital and events footprints.

Going by attendance at adobo’s Masterclass, Main Course, the Design Awards and fun activities from the Halloween run to the football Cup and networking events, I would like to believe adobo has become an integral part of this industry.

To ensure our longevity in an industry where even venerable brands have not been immune to this tumultuous era, we are not about to stand still.

A better optimized, new-look website and email updates are on the cards for launch shortly.

Our website will not only offer the latest exclusive trade news snippets, but also serve as a platform for industry leaders to share their knowledge and skills to hone young talent.

Our print and digital products will also provide a new level of interactivity as we make our adoboReality app, launched last year-end, a regular feature of the magazine.

Beginning with this issue, we have made a number of tweaks, some major, some minor, all designed to catch

your eye and hold your attention. From our news section’s more digestible form (to make it easier for readers to dip in and out) to our regular sections (which have been refurnished to be as much visually-appealing as they are content-driven), a conscious effort has been made to reward readers who are from an industry that appreciates form as much as substance.

Headlining an issue already brimming with material is Publicis Manila’s CEO Matec Villanueva, captured here by ace lensman Mark Nicdao as the advertising chess world’s indomitable white monarch.

This issue also features profiles of creative talent who not only adapted but have shone in new markets – Philippine-born Armand Serrano (pg 62), a brilliant Filipino animator who made it big in the US working on big screen blockbusters, and former Philippine-based creative force Gavin Simpson (pg 80), best known here for a bold piece of work for a big-name client.

Our profiles of MRM Philippines (pg 96), Carat Philippines (pg 100) and Movent (pg 104) similarly feature agencies that have adapted, even revolutionized, their businesses. Ditto for our profiled marketer Don Papa Rum, which wants to take Philippine rum into premium territory. From our rather frequent and enjoyable taste tests, they’ve certainly got the goods to get there.

We hope you enjoy our new look as much as we have working on it. The past seven years have been quite the ride. Whether you’ve been around from the beginning, or are flipping through these pages for the first time, rest assured, we’re just getting started, and you haven’t seen anything yet.

Angel V. Guerrero Founder, Publisher & Editor-in-Chief

President & Editor-in-Chief Angel V. Guerrero

Vice-President & Chief Operating Officer Janelle Barretto Squires

EDITORIAL Consultant Editor Sharon Desker Shaw

Managing Editor Mikhail Lecaros

Layout Artist Mel Patrick Kasingsing

Staff Reporter Emarrah Sarreal

Final Artwork Victor Garcia

Digital Writer Danielle Austria

Columnists Bong Osorio Donald Lim Jaime Tolentino

Multimedia Artist Ricardo Malit Editorial Coordinator Denise Galoyo

MARKETING Sales & Marketing Head Apple Esplana-Manansala Events Manager Ched Dayot

Account Manager Jona Loren Atienza Marketing and Events Coordinator Andrew Sarmiento

ADMIN Finance Head Steve Pelimiano

Cover Photography Mark Nicdao Creative Team Dindo Pangalangan, Elmer Pueblo, Zard Eguia and Che Katigbak of Adix Production Design Styling Marlon Rivera, Dino Reyes and JC Buendia Hair & Make-up Ish Sison

Database & Subscription Romina Claros

Accounting & Admin Officer Elsa Bagalacsa

CONTRIBUTORS Writers Mark Dantes, David Guerrero, Brandie Tan, Joaquin Valdes Illustration Benjamin Abesamis, Claudine Delfin, Meneer Marcelo, Tepai Pascual Photography Joser Dumrique, Adrian Gonzales, Mark Nicdao, Shampoo Padilla, Jay Tablante

For advertising, sales, subscription, editorial and general inquiries, please get in touch. editorial@adobomagazine.com sales@adobomagazine.com subscriptions@adobomagazine.com events@adobomagazine.com books@adobomagazine.com info@adobomagazine.com www.adobomagazine.com Telephone +632.845.0218 / +632.886.5351 Fax +632.845.0217 adobo magazine Unit 203, Bldg 1, OPVI Center (Jannov Plaza) 2295 Pasong Tamo Extension, Makati City Follow us on Twitter @adobomagazine Add us up on Facebook www.facebook.com/adobomagazine

GOOD TO KNOW We’d like to credit Mitch Mauricio for the fine photography in our Budjette Tan adobo Exhibit feature. We’d also like to credit Moving Things Design Studio in the illustration for our January-February issue’s AdFest primer.

Art Direction Joe Dy, Kimmy de Leon

adobo magazine is published bi-monthly by Sanserif Inc. © 2013 Sanserif Inc. All rights reserved. Printed on recycled paper.

No part of the magazine maybe reproduced or transmitted by any means without prior permission of the publisher. While every effort has been made to ensure the accuracy of the information in this publication, the publisher and the editor assume no responsibility for errors of omissions or any circumstance of reliance of information in this publication. The opinions expressed in this publication do not necessarily represent the views of the publisher and the editor. Advertisements are the sole responsibility of the advertisers.

CO N T R I B U TO RS March-April 2013, Issue 44

Mark Nicdao Photographer

Jay Tablante Photographer

Joser Dumbrique Photographer

Adrian Gonzales Photographer

Shampoo Padilla Photographer

David Guerrero Chairman and CCO, BBDO Guerrero

Donald Lim Managing director, MRM Philippines

Jamie Tolentino Contributing writer

Marlon Rivera President and CCO, Publicis Manila

Joaquin Valdes Film/commercial director

Mark Dantes Contributing writer

Maureen Manuel Stylist

Ish Sison Make-up artist

Tepai Pascual Associate art director, Publicis Manila

We couldn't have done this issue without: Benjamin Abesamis Illustrator, Claudine Delfin Illustrator, Meneer Marcelo Illustrator, Joe Dy Creative director, JWT Manila, Kimmy de Leon Junior art director, JWT Manila, Brandie Tan Executive creative director, Lowe Malaysia, Dino Reyes Publicis Manila, Francis Dayao for Mark Nicdao, Dindo Pangalangan, Elmer Pueblo, Che Katigbal and Zard Eguia of Adix Production Design

74

80

Matec Villanueva

Standing proud, seven years on, Publicis Manila CEO Matec Villanueva shares her secrets to staying at the top of her game.

51 36

68

Table of Contents Cover Story Matec Villanueva: Woman on top

74

Philippine News 11 12 13 14 20

To spend or not to spend Havas outguns rivals for Globe AdBoard: Fractured Petron inducted into Hall of Fame P&G bankrolls first-ever branded movie

21 22 23 26 27 28

Optimism uptick Quek is digital strategist to watch TBWA scores Datsun global launch job Maxus, ADK roll out partnership The march of TIME ‘Dumb Ways’ makes TED honors roll

29 30 31 34

Google arrives fashionably late Mobile advertising’s booster shot Donald Lim on the evolution of telcos Digital Showcase

Global News

Digital

The Work 36 41 46 48

Creative Review: Brandie Tan Creative Showcase adobo Ad of the Year Creative Corner: Marci Reyes, Tequila

March-April 2013, Issue 44 Marketing

51 Necessary spectacle 55 Hard at play 58 Won and Gunn reports: 2012’s most-awarded

Design 62 adobo Exhibit: Armand Serrano 67 Graphika Manila round-up 70 Design Showcase

People 80 Gavin Simpson and his gold-plated resumé 84 Two of a mind 90 Movers

Centerfold 92 Melissa Crucillo, JWT Manila

Trendspotting 94 Komikero admen

The Firm 96 MRM: Shifting gears 100 Movent: Tech support 104 Carat: ‘A’ for rebound

Intelligence 108 Election’s social media footprint

110 Rum revolution 114 Sidedish: Gregory Banzon, Century Pacific Group 114 In The Bag Candice Iyog, Cebu Pacific 116 Nielsen Spend Data

Media 118 123 126 128

MSAP’s media pow-wow CEO forum OMD on Gunn winning streak Media Showcase

131 135 139 143 149 156

Cannes Primer AdFest's magnificent eight Tambuli: Value-added advertising Tinta Awards: Print's creative spin adobo: A look back adobo Nights

Special Report

Roundtable 162 The anatomy of political campaigns

Regular Sections 158 Logic & Magic: Bong Osorio 162 Events Calendar 172 Downtime

T HE PH IL IPPIN E S

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countdown may 31, 2013

Illustrations Benjamin Abesamis

Election's 2bn peso adspend prize

Source Deutsche Bank AG/Hong Kong

To spend or not to spend Figures point to 2bn pesos in political adspend potentially drowning brand campaigns Manila Should brands campaign while politicians are out on the stump?

There are conflicting views as to how much of brands’ spend will be drowned out by politicians campaigning for the May 13 mid-term elections. Deutsche Bank AG Hong Kong forecast election adspend would top 2 billion pesos.

If the figure does materialize, it will represent a 66% hike over 2007 levels, a staggering increase considering new curbs imposed on TV and print campaign advertising this year.

Curbs include a 120-minute limit for every national candidate on all channels (versus 2010’s 120-minute limit on each channel) and 60 minutes for local candidates and three-times-a-week per publication ceiling for print advertising.

But Carat Philippines is weighing the possibility that election TV spending could be lower since not every candidate is likely to campaign on the airwaves. In the past election, 16 candidates accounted for 62% of spending, according to the agency.

“Our clients are being cautious. What happens sometimes is political ads get priority and so it’s not necessarily an issue of being drowned, but getting the spots we want,” said Carat’s consumer insights and research director April Yap. “The cap is some sort of assurance, but not a complete one, because there can be ads like advocacy material that fall into a gray area – is it affected by the cap or not?

By the time the whole thing is sorted out, the campaign period might be over.”

ZenithOptimedia chairman Venus Navalta expected the caps would see political advertisers pace their frequency in order to achieve the strongest share of voice in the four weeks leading to the election.

Should advertisers show restraint, they will be doing so at a time when consumers are expected to unleash a spending spree. Kantar’s 2013 Outlook survey noted that households generally spend 5 billion pesos more on FMCG products during election years.

See page 108 for Kantar Outlook survey

Anatomy of a viral explosion February 23

“The advice we’ve given has varied from client to client but, by and large, clients have on their own avoided major campaigns during this period.”

APRIL YAP Consumer Insights Director, Carat

“We planned and implemented much earlier so that we are not bumped off by the political ads, who pay higher rates.”

VENUS NAVALTA Chairman, ZenithOptimedia

Election candidate ignites social media’s wrath

March 3

February 26

Senatorial bet Cynthia

The clip is then posted on GMA

Villar appears in a Q&A on TV senatorial forum.

Villar’s comments that nurses don’t require extensive training if they are only going to become room nurses overseas appears innocuous at first.

News Online, bringing it to the public’s attention

March 1

February 25

Bloggers begin commenting on

on YouTube

the clip’s content, taking issue with Villar’s “room nurse” point

The clip of the show is posted

VIEWPOINTS

March-April 2013

March 4

Views for the clip explode

Stung by the backlash Villar

to 233,298 on YouTube, it elicits more than 2,000 mostly negative comments.

sends an apology letter to the nurses association.

It is shared more than 1,400 times on Facebook and retweeted more than 860 times.

*at adobo press time

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T HE P H I L I P PI NES

JURY DUT Y

Aspac/Law supports digital PR strategy Manila Globe Telecom has handed its digital agency-of-record assignment to Havas Media Ortega (HVMO) following a three-way pitch, and has kicked off an online offensive to address recent service and coverage issues that attracted plenty of negative press.

HVMO will handle strategy, creative and media to meet the digital marketing needs of Globe’s Consumer unit. The win represents an expansion of HVMO’s relationship with the communications provider, which had earlier tapped the agency for its corporate account.

HVMO won the business in a final three-way shootout against OgilvyOne and ZenithOptimedia, which has been Globe’s media AOR since January 2012.

GroupM’s newly acquired agency NetBooster since renamed Movent, had previously handled Globe’s digital account.

“This is a victory for data, analytics, strategy, creativity and integration. This is a

testament to Havas Media Ortega’s philosophy of igniting meaningful experiences for the brands that we have been entrusted with,” said Jos Ortega, HVMO chairman and CEO. Globe also tapped Aspac/Law to help it address image issues that cropped up after its network suffered service and coverage problems.

The independent shop won the assignment late last year and has to date unveiled two, two-minute online videos showing Globe being there at the worse of times for its customers.

‘Downpour of Love’ told the tale of a wedding that made headlines when the couple went ahead amidst a catastrophic event – last year’s devastating habagat storm.

With Globe as their communications partner, the pair kept their nuptial plan on track.

Using their Unli service registered the night before the wedding, the couple were able to handle the preparations and to inform guests that they were pushing ahead with the nuptials despite the flooding in the church.

The message was essentially: “For better or worse, through thick and thin, through text and calls, Globe will always make it possible.”

The second spot ‘Allstars’ was being seeded online by HVMO at press-time.

TURNING THE TABLES

31

88

VS

MILLION PESOS

MILLION PESOS

Senator Juan Ponce Enrile hits Campaigns & Grey group chairperson Yolanda Villanueva-Ong with a multi-million peso defamation suit over what he termed was a ‘malicious’ column in a local daily

Ong dwarfs Enrile’s suit with a countersuit, alleging moral and exemplary damages, and vows to donate the award to victims of the Marcos regime, which the Senator previously served.

adobomagazine

March-April 2013

LIA, CANNES’ CHOICE London International Awards (LIA) and the Cannes Lions have tapped David Guerrero for jury duty this year. The chairman and chief creative officer of BBDO Guerrero/Proximity will serve as jury president for LIA 2013 print, poster and billboard competition, making him the first Philippine creative to head a jury at this show. LIA president Barbara Levy said Guerrero had been on LIA’s radar for some time. Guerrero will also join the outdoor jury for Cannes in its milestone 60th year, which has assembled a who’s who of global creative luminaries as jury heads. He was the first creative from Southeast Asia to lead a Cannes jury for radio in 2007.

BOUND FOR ADFEST TBWA\ SMP creative director Jake Tesoro will join AdFest’s outdoor jury, to be headed

by PARTY Tokyo founder Naoki Ito. Tesoro started as an art director with Ace Saatchi, before moving to JWT and Lowe Shanghai and returning to Manila for his current gig.

Illustrations Meneer Marcelo

Havas outguns rivals for Globe digital brief

NY FEST PICK DM9JaymeSyfu’s chairman and chief creative officer Merlee Jayme will take up jury duty for the New York Festivals’ International Advertising Awards. Jayme, who is making her first jury appearance at the show, said: “It’s always a fun and unforgettable experience looking at all the work from different parts of the world…it will be great that I will be with my network’s worldwide chief creative officer Amir Kassei and friends like Y&R’s Marcus (Rebeschini from Asia) and Leo Burnett’s ‘Pops’ (KV Sridhar of the India office).” The executive jury will convene in New York from April 27 to May 1.

T HE PH IL IPPIN E S

Fractured

Deadlocked AdBoard election triggers series of developments -4A’s exit, elected officials step down but new election is cancelled

Manila The AdBoard could potentially devolve into a small suppliers group if the 4As and the Philippine Association of National Advertisers (PANA) cannot be persuaded to return after taking an unprecedented leave of absence within months of each other.

The 4As left in early February following a deadlocked election for the AdBoard chair. 4As representative Alex Syfu had challenged incumbent Ricky Alegre for the role as the 4As had been pushing the AdBoard to be more proactive in dealing with issues affecting the industry.

Syfu’s camp had intimated that a gentleman’s agreement existed for Alegre to support him in the election. Alegre rebutted, insisting the deal only involved a power or term share. “I never said I would support him.”

Alegre indicated that three options were tabled to resolve the deadlock: Hold another round of elections; draw lots; and toss a coin but Syfu and new 4As chairman Matec Villanueva rejected all three. Alegre eventually took office for a second term, triggering 4As’ decision to take an indefinite leave of absence (see timeline below).

Alegre and the other office bearers resigned to call for new elections but the move was too late to stop the 4A’s move. In a blunt letter, the 4A’s board told Alegre that AdBoard had “lost its relevance and purpose”. It said the move was necessary “in the hope that concrete action towards true transformation and change will be undertaken for the good of the entire industry”.

The 4As has been disgruntled that its call to establish a group to monitor and alert the industry to rule changes or new regulations and lobby on behalf of the industry had been ignored by the AdBoard. It was felt the AdBoard had the funds, estimated at 30 million pesos, excluding its office premises, to lead this effort.

The departure of the 4As and PANA after the KBP in 2005 leaves the AdBoard without its three biggest industry groups. Its remaining five member associations are considerably smaller bodies such as the Media Specialist Association of the Philippines, United Print Media Group, Advertising Suppliers Association of the Philippines and the Cinema Advertising Association of the Philippines.

‘The train has left’

Ricky Alegre’s dramatic gesture to step down along with other office-bearers for the 2013 office term has failed to deliver the desired results.

The 4As and PANA have shown little inclination to return to the fold despite attempts by other AdBoard member groups to persuade them to end their indefinite leave of absence.

Sources in the 4As appeared to rule out the possibility of the group or even PANA returning anytime soon.

“The train has left the station,” said a source, noting that both groups intended to meet each other and other industry bodies on a regular basis to tackle issues related to the business. But these meetings will be done independent of the AdBoard, a point the 4As made in its letter to the AdBoard.

“I think reconstituting The AdBoard is hopeless,” said one of the industry’s elder statesmen, Emily Abrera, who has held office in both the 4As and the AdBoard while she headed McCann Erickson Worldgroup.

4As Stands Firm Alegre’s gesture fails to fly

“I think reconstituting the AdBoard is hopeless.”

ABRERA

13

THE BIG QUESTION The upheavals have spotlighted one crucial question: What will happen to AdBoard’s cash and property holdings? Member associations have contributed to the estimated 30m peso cash pile. PANA and the 4As are naturally keen to see their funds returned or put to work but AdBoard’s non-profit status could make any redistribution tricky.

back and forth Two sides of the AdBoard debate Illustration Meneer Marcelo

“I believe the AdBoard still has a major role to play.

But it’s (time) for everyone to introspect and review priorities.” ___

RICKY ALEGRE AdBoard ex-chairman

“The 4As is convinced AdBoard… has lost its relevance and purpose. We are taking this position in the hope that concrete actions ___ towards true ALEX SYFU transformation 4As director and and change will signatory to the 4As letter be undertaken…”

A history of break-ups 4A’s exit is the third the AdBoard has weathered over an eight-year span July 17, 2005

Nov 22, 2012

Dec 18, 2012

Kapisanan ng mga Brodkaster sa Pilipinas leaves the

Founding AdBoard member PANA under then-

AdBoard officers, led by

AdBoard due to commercial overloading policy disagreements.

president Margot Torres files for indefinite leave of absence.

then-chairman Ricky Alegre, requests a closed-door dialogue with PANA.

Jan 15, 2013 Alegre and

4As challenger Alex Syfu face off for the chairmanship. The vote is deadlocked.

Syfu declines another voting round and the vice chairmanship.

Feb 6, 2013 The 4As files

an indefinite leave of absence following the deadlocked election.

March-April 2013

Feb 8, 2013

Feb 19, 2013

Alegre and the

AdBoard cancels a scheduled election of new office bearers; appoints five-person transition committee instead

other four officerselect – Nonoy Niles Jr (MORES), Faith Abano (CAAP), Tessie CelestinoHoward (IBA), and Madonna Tarrayo (ASAP) – step down.

adobomagazine

T HE P H I L I P PI NES

hall of famer

Petron president Lubin Nepomuceno (middle) accepts the Anvil Hall of Fame Award from PRSP chairman Yoly Crisanto, secretary Rene Almendras, and chairman of the Anvil jury board, Vishnu Mohan. Nepomuceno is joined by colleague and Malay Mayor John Yap, who holds the Anvil Award of Excellence for the Boracay Beach Management Program.

Petron inducted into Hall of Fame

ANVIL IN NUMBERS

Only the third recipient of Anvil honor

387

Manila Petron Corporation was inducted into the Anvil Awards’ Hall of Fame at the competition’s 48th show in March, which also saw Smart Communications emerge as the most-awarded company although there was no Grand Anvil prize awarded.

The coveted honor was given in recognition of 12 years of design excellence Petron had achieved with its Vision Petron collaterals, a set of print materials produced for the annual Vision Petron National Student Art Competition to increase participation in the program.

Petron is only the third recipient of this soughtafter award after San Miguel Corporation and the Ayala Group of Companies because of the award’s demanding criteria.

No Grand Anvil, which is awarded to a program that surpasses all entries, was presented at what is seen as the ‘Oscars of Philippine PR’. The Bronze Anvil was awarded to Sun Life Financial for ‘Experience Sun Shorts’, a collection of digital films illuminating universal themes, EON for the Philippine hosting of the 45th ADB Annual Meeting and Studio 5 Designs Inc for ‘The Future Begins Here’ DSLU Centennial coffee table book.

Vishnu Mohan, chairman of the board of jurors, said: “It was great to see that entries were submitted by diverse companies and agencies which were not necessarily pure PR agencies as it helps put more work into the pot and uplifts the standards for the whole industry.”

Vishnu Mohan, chairman of the Anvil board of jurors, said judges decided against presenting a Grand Anvil this year for one simple reason.

“The collective view was there was not one truly outstanding inspirational work that could be bestowed with the highest accolade. We do hope that this is taken in the right spirit and sends the signal for the professionals in the industry to raise the bar and aim higher,” said Mohan, CEO of Havas Media Asia Pacific.

With the Anvils seen as the ‘Oscars of Philippine PR’, Mohan

adobomagazine

March-April 2013

ENTRIES Entries hit a record after the competition was opened to multimedia and digital PR campaigns

14 AWA R D S Smart Communications was the most-awarded company with 14 awards, while Petron had 7 and Globe 5. ABS-CBN’s 7 Anvils made it the most-awarded broadcaster.

An adman at the Anvils

Walker replaces Yeo as Ogilvy group ECD

Source www.ogilvyasia.com

14

Azarcon takes over as RedWorks GM Manila Ogilvy & Mather Philippines has tapped a network alumnus, Richmond Walker (pictured), to replace Eric Yeo, who left in 2012 after a year as group executive creative director, to join Lowe Bangkok.

Walker joined on March 1 alongside Ryan Azarcon as general manager of RedWorks following Arvin Sanchez’s exit. “Richmond is no stranger to Ogilvy. He will give Ogilvy Manila the creative impetus it needs,” said Eugene Cheong, Asia Pacific creative leader.

Walker previously worked with Ogilvy as creative director in Malaysia and associate creative director in Vietnam.

He was most recently BBDO Malaysia’s executive creative director.

Azarcon has been tasked to lead the shop’s evolution into a “delivery agency of the future”.

Azarcon spent a decade at graphic design studio Ignition, where he was managing director and creative head. “Ryan brings to RedWorks his deep understanding, as well as hands-on involvement in the business of creative delivery,” said the group’s country head Peachy Pacquing.

Vishnu Mohan on the missing Grand Anvil said it was important to ensure the Grand Anvil remained a highly coveted award.

Mohan said his role – an adman – at the Anvils signified that the “age of silos is gone”.

“The communication industry is quite borderless. One does not have to go too far to see this – the entries for the 48th Anvil Awards are already representative of this fact. While this was indeed my first chairing of an essentially PR awards, I enjoyed the experience and I do believe that the industry as a whole benefits from the different perspectives and the resulting cross pollination.”

T HE PH IL IPPIN E S

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ON THE MOVE STARCOM BEEFS UP Two executives from GroupM agencies have moved to Starcom MediaVest Group to bolster the local office’s trading, branded content and activation capabilities. Onel Querijero, Maxus Philippines former general manager and previously media director at MindShare since joining in 2008, has been named trading director, while former GroupM activations director Meg Arcilla has joined as LiquidThread director. Querijero will oversee trading agreements and negotiations with media owners across all platforms, while Arcilla will develop best practices for content and activation for the content division.

BANGKOK HIRE Arvin Sanchez has joined

SPACE-BOUND AXE is poised to blast a Filipino astronaut into space and history as part of its global Axe Apollo campaign. Some 10,000 Filipino passport holders signing up on www.AxeApollo.com will undergo a series of challenges to select one for training at the Axe Apollo Global Space Camp in Florida for the 2014 mission. (See pg 104 for more on Axe digital campaigns in the Movent profile).

New York-based Animated Storyboards as head of marketing and production at its regional office in Bangkok. Sanchez was general manager of Ogilvy Philippines’ RedWorks creative delivery agency before resigning in November last year for the Bangkok role.

During Sanchez’ tenure at RedWorks, the shop won the Print Production House of the Year award at the 4As Agency of the Year show.

BBDO tops Won list, cracks Gunn Top 50 Makes cut with Saridon, Pepsico wins BIG WON 2012

Most Awarded Philippine Agencies 01

BBDO Guerrero\Proximity

109 pts

02

Ace Saatchi & Saatchi

22 pts

03

TBWA/SMP

14 pts

04

Lowe

11 pts

04

DDB DM9JaymeSyfu

11 pts

06

McCann WorldGroup

05 pts

07

Y&R

03 pts

07

Dentsu

03 pts

07

OgilvyOne Manila

03 pts

March-April 2013

WUNDERMAN BEEFS UP Pia Roxas Ocampo (pictured) has been appointed to lead the creative teams as ECD of Wunderman International Philippines and sharpen the agency’s customer engagement forays.

She joins from BBDO Guerrero/Proximity where she led the agency’s digital creative team and brings more than 10 years experience in digital, direct marketing and advertising.

Ocampo will be responsible for creative development of Wunderman’s strong client portfolio including Intel, Microsoft and Nokia.

HAVAS APPOINTS Philippine – trained doctor Victor Joseph Yamat has joined Havas Worldwide as its healthcare director for the Southeast Asia regional office of Havas Life in Singapore. Yamat previously worked with McCann Healthcare Philippines and Publicis Healthcare in China on brands such as Nestlé, Unilab Philippines, Gates Foundation, Sanofi, Schering Plough and Mead Johnson.

Illustration Meneer Marcelo

Manila BBDO Guerrero/Proximity Philippines cracked the 2012 Gunn Report Top 50 Most Awarded Agencies in the World ranking and topped the Philippine agency index in the Won Report as well.

It tied with seven other agencies in 49th place, the first time a Philippine shop made Gunn’s Top 50 cut following an award-winning year at local and international shows with notable wins such as the country’s first Clio Gold for a commercial client, PepsiCo, plus honors from London International Awards and Cannes Lions for film and promo and activation.

‘Persistent Headaches’ for Saridon, ‘Liter of Light’ for PepsiCo and MyShelter Foundation and ‘It’s More Fun in the Philippines’ for the tourism department were behind BBDO’s strong Gunn and Won showing.

Chairman and chief creative officer David Guerrero said: “I have always felt that we can produce work in this country that can compete in terms of creativity and effectiveness with any of the more developed markets – this proves we can.”

‘Liter of Light’ was also one of six campaigns praised for its creativity, innovation and results in Gunn’s media report. (See page 58-59)

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T HE P H I L I P PI NES

R3 N E W BUS I N E S S LE AGU E

December 2012 Philippines Top 10 Creative and Media Wins

McCann, BBDO, DDB show winning form Trio dominate R3 new business rankings MANILA McCann Worldgroup dominated R3’s list of top creative account moves of 2012, winning four of last year’s account shifts.

It scooped Ayala Land’s Ayala Malls 360 launch campaign and creative duties for BDO, while digital and direct marketing unit MRM repitched and won Nescafé’s 2012 digital brief and picked up Coffeemate’s Creamy Caramel digital assignment. The latter two are Nestlé brands.

Johnson & Johnson’s decision to consolidate its global creative duties with Omnicom Group and its DDB network has been a boon to its local office.

Local J&J incumbent Lowe lost out as a result of the move to create operational efficiency and more integrated work.

DDB’s other major win of the year was Propan TLC, putting it at par with BBDO, which also accounted for two of 2012’s top account wins. BBDO benefited from Visa’s global decision to leave TBWA and return creative duties to it after seven years away.

BBDO also extended the scope of its assignment with the Department of Tourism, winning its digital account after securing the creative business the previous year.

On the media front, the year belonged to two resurgent agencies, ZenithOptimedia and Carat. Zenith accounted for half of the top 10 media moves in 2012 and Carat had three. Starcom won the remaining two account moves.

Zenith’s wins came from major advertisers — BPI, Henkel and Ayala Land.

Carat’s spectacular climb up the Recma rankings came on the back of three sizeable wins – the Asia Brewery and Interbev account, estimated to spend US$38 million, Tanduay Distillers and Lamoiyan Corporation, the maker of Hapee toothpaste.

adobomagazine

C R E AT I V E AG E N C Y

A CC O U N T

MONTH

McCann WorldGroup

Ayala Land Ayala Malls 360 Launch BDO Johnson & Johnson Propan TLC Pascual Lab Nestlé Philippines Nescafé 2012 Digital The Coca-Cola Export Corporation Philips Visa Nestlé Philippines Coffee-mate Creamy Caramel Digital Campaign Department of Tourism Digital

Mar

Philippines

Apr Nov Apr Feb

Philippines Philippines Philippines Philippines

Feb

Philippines

Mar Sep Mar

Asia Pacific Asia Pacific Philippines

Jun

Philippines

ACC O U N T

MONTH

Asia Brewery Interbev Philippines Unilab BPI Tanduay Distillers Metrobank Group of Co. Lamoiyan Henkel Ayala Land Nestlé Digital BPI Project

Jan

Philippines

Jul Aug Jan Apr Dec Jun Jul Dec Dec

Philippines Philippines Philippines Philippines Philippines Philippines Philippines Philippines Philippines

McCann WorldGroup DDB DDB McCann Worldgroup/MRM Leo Burnett Ogilvy BBDO McCann WorldGroup/MRM

BBDO M E D I A AG E N C Y

Carat Starcom MediaVest ZenithOptimedia Carat Starcom MediaVest Carat ZenithOptimedia ZenithOptimedia ZenithOptimedia ZenithOptimedia

AREA

AREA

2012 Philippines Top 10 Creative and Media Wins C R E AT I V E AG E N C Y

ACC O U N T

MONTH

McCann WorldGroup

Philippines

BBDO

Ayala Land Ayala Malls 360 Launch BDO J&J Propan TLC Pascual Lab Nestlé Philippines Nescafé 2012 Digital The Coca-Cola Export Corporation Philips Visa Nestlé Philippines Coffee-mate Creamy Caramel Digital Campaign Department of Tourism Digital

M E D I A AG E N C Y

A CC O U N T

MONTH

Carat

Asia Brewery Interbev Philippines Unilab BPI Tanduay Distillers Metrobank Group of Companies Lamoiyan Henkel Ayala Land Nestlé Digital BPI Project

Philippines

McCann WorldGroup DDB DDB McCann WorldGroup Leo Burnett Ogilvy BBDO McCann WorldGroup

Starcom MediaVest ZenithOptimedia Carat Starcom MediaVest Carat ZenithOptimedia ZenithOptimedia ZenithOptimedia ZenithOptimedia

March-April 2013

Philippines Philippines Philippines Philippines Philippines Asia Pacific Asia Pacific Philippines

Philippines

Philippines Philippines Philippines Philippines Philippines Philippines Philippines Philippines Philippines

T HE PH IL IPPIN E S

17

January 2013 Philippines Top 10 Creative and Media Wins

Vizeum Universal McCann Starcom MediaVest OMD MediaCom ZenithOptimedia ZenithOptimedia Maxus OMD

ACC O U N T

Pag-IBIG Fund J&J Yakult SM Retail Affiliates Rissa Hontiveros Fitness First Nestlé Digital Bridgestone Watson’s Philippines

Jan Jan Jan Jan Jan Jan Jan Jan MONTH

Jan Jan Jan Jan Jan Jan Jan Jan Jan

AREA

Philippines Philippines Philippines Philippines Philippines Philippines Philippines Philippines AREA

Philippines Regional Philippines Philippines Philippines Philippines Philippines Philippines Philippines

The R3 New Business League has been compiled each of the last 124 months using data supplied by 26 multinational agencies on a monthly basis to R3. In addition, this data supplied is balanced against Client Estimates, Nielsen ADEX, discounted to appropriate levels and then converted to a revenue estimate. R3 is the leading independent consultancy focused on tracking of agency performance, and marketing ROI for clients across the region.

Ayala Malls awards mobile to Mobext

Photo ayalamalls.com.ph

Tasked with strategy for new mobile site

Manila Mobext has won the agency-of-record mobile brief from Ayala Malls, which tapped the Havas agency to manage its expanding mobile portfolio.

Its main tasks include creating a media strategy for an upcoming mobile website and consolidating the retailer’s mobile customer relationship management efforts. Mobext will serve as the site’s AOR, managing media placements in mobile display, mobile search, and mobile social media.

The mobile site will optimize the retail operator’s current online portal for smartphones and tablets.

“Given that user behavior changes on the mobile device, the Ayala Malls mobile site will feel more like an app and will not just be a responsive site, compressing an online site into a mobile device,”

NEW WINS

Photo www.smdc.com

ME DI A AG E NCY

Samsung URC Motortrade Monde Nissin SCG CCCI Unilab Unilab Active Health

MONTH

said Menchie Viduya-Dizon, marketing manager for Ayala Land Malls Commercial Business Group.

Another task is to consolidate the SMS campaigns of seven of the operator’s malls using the Mobextdeveloped platform, Message.

The platform will allow Ayala Malls to launch and manage multi-country SMS campaigns that are personalized and highly targeted.

“We would like to utilize SMS as a strong channel to push information about our events and promotions at the malls. We would also like to harness its potential as a CRM tool as we build our database in a more organized and systematic way. Mobile devices are ubiquitous and therefore the best channel for one-to-one communication,” said Dizon.

Ayala Malls has been expanding its mobile properties, starting with the Ayala Malls 360 iOS app launched last year. It has also rolled out SMS campaigns, though as Dizon observed, there was a need to do it more efficiently.

“Mobext has experience in various markets and we would like to take advantage of the wealth of knowledge that the company has harnessed over the years. Mobile is the next frontier and we see this accelerating this year.”

Commenting on the appointment, Arthur Policarpio, Mobext Asia Pacific head, said: “It is great to see companies like Ayala Malls leading the way for more mobile maturity in the country. Mobile has countless benefits for retailers, not just in driving sales but in creating real consumer engagement whether they are inside or outside the stores.”

March-April 2013

MEC SCORES SMDC handed its media planning and buying business to MEC following an extensive search for a media partner conducted in 2012. The GroupM agency attributed the win to the shop proving its efficiency in media planning, the trading support available under the GroupM umbrella, its newly expanded capabilities in digital and a strategic alliance with Kinetic, the outdoor specialist unit of parent company WPP. SMDC makes extensive use of outdoor platforms, from billboards to the city’s bus fleet to target the middle segment, which it dominates.

WYETH SHIFTS Wyeth Philippines has consolidated its creative and activation duties for the entire Bona line with Bates CHI & Partners.

The infant formula and kids nutrition provider called a two-way pitch in December 2012 after Axent, formerly known as Adformatix, resigned the Wyeth corporate and Bona line accounts.

Its CEO Minnie Dimson pinned its resignation on differences in corporate values and ethics. Bates had been handling Bona line’s Chocoboost and will now take on Infant and Pre-school brands.

Photo www.missosology.info

Leo Burnett Leo Burnett Publicis BBDO Ogilvy Ogilvy Ogilvy Ogilvy

A CC O U N T

Photo www.facelesstrader.wordpress.com

C R E AT I V E AG E N C Y

FASTFOOD GAIN DDB Philippines has scooped the creative business for home-grown fastfood giant Mang Inasal, which has been on a tear, rapidly expanding its local footprint.

DDB’s previous experience in the quick service restaurant category with McDonald’s, which later shifted its business to Leo Burnett, is expected to come in handy with the new account.

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T HE P H I L I P PI NES

AWARD WINNERS

CAPLES TRIUMPH

Bates takes wraps off CHI partnership Evolution has to happen: Borromeo Manila Bates’ second identity overhaul in as many years will see its Philippine shop renamed Bates CHI & Partners under a global partnership with the London-based agency to help Bates expand its footprint from 14 Asia Pacific offices to 16 worldwide.

Mitos Borromeo, Bates’ business strategy and new business consultant, said: “Our evolution has to happen in order to enable us to help our clients compete in a more complicated environment where people’s views have been transformed by the digital revolution, and the global financial mess has forced businesses to think smarter and faster.”

Borromeo said the partnership would “bring together the best of the West and the East, allowing Bates to tap into the creative mindset of CHI while CHI can tap into Bates’ Asian knowledge”.

CHI will lend support through its London and New York offices, allowing Bates to work with Asian brands seeking to expand across the region and globally, while providing support to

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Western companies that are growing their businesses in Asia.

The overhaul comes after the WPP network went from Bates 141 to Bates in 2011 and tweaked its positioning from ‘change agency’ to ‘changengage’.

However, the net work’s regional CEO David Mayo said conditions now demanded a new agency offering in Asia. Bates will pitch its services under the banner ‘Big Ideas for Ambitious Brands’.

“Clients want the creativity of the small and the reassurance of the big. Bates CHI & Partners do precisely this… We call our business model ‘The Power of &’ – less competition and more collaboration. This is what clients will pay for,” said Mayo.

The Power of & in the Philippines

March-April 2013

RISING STAR McCann MRM Philippines digital planning director Bea Atienza has scooped the Rising Star prize in McCann Worldgroup’s global Excellence Awards just months after being named Accounts Person of the Year for Southeast Asia in Campaign’s annual awards. Atienza, who heads strategic planning for MRM Philippines, won the award for under-30s for her role in growing the agency’s business within the Asia Pacific network and within the local Worldgroup operation.

DESIGN HONOR Filipino design educator and practitioner Lucille Tenazas has been awarded the AIGA Medal by a USbased non-profit for her “prominent role in translating postmodern ideas into critical design practice; her exploration of the relationship between type, photography and language; and the development and leadership of highly-respected design education programs”.

The founder of Tenazas Design has created Identity systems and projects for small creative businesses such as design and architectural studios and cultural institutions including the University of California’s College of Environmental Design, the Hecksher Museum of Art and non-profit organizations. She has also designed campaigns for film festivals beginning with thematic identity and extending to tickets, brochures, press kit folders, etc.

Illustration Meneer Marcelo

SEARCH TITAN ARRIVES Google’s sense of fun and whimsy was on full display when it finally arrived in the Philippines. (From left) Philippine country manager Narciso Reyes, Philippine Undersecretary of the Presidential Communications Development and Strategic Planning Office, Manuel L Quezon III, and Google Southeast Asia managing director Julian Persaud were on hand to crack a clay pot painted in a riot of Google colors to launch the office in late January. See page 29

BCD Pinpoint bested 18 global agencies to take bronze, the only metal awarded, in the direct mail (flat) category at the 2012 Caples Award in New York. The full-service Philippine CRM shop won a bronze for ‘Fahad’s Arm’, a direct mail pack created for UNICEF to raise funds for Mindanao’s malnourished. The work featured an outer envelope with a 6-cm hole to depict a malnourished child’s arm. Donors were asked to fit their arm through the gap.

The package also included a MUAC-tape (Mid-Upper Arm Circumference), used by field workers to test if a child is malnourished.

The campaign achieved ROI of more than 205% and beat income targets by 170%.

T HE PH IL IPPIN E S

March-April 2013

19

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20

T HE P H I L I P PI NES

P&G bankrolls firstever branded movie Starring role for three blockbuster brands

Starring role... Ganda Trio's movie debut

TAO stands firm to stop rate erosion Declines global advertiser’s price plan Manila Members of the Philippines Talent Agents Organization (TAO) have put the brakes on a multinational advertiser’s plan to centralize its production of TV commercials in the Philippines, as the move would have seriously depressed fees for talent and models (while delivering sizable cost savings to the corporation).

The multinational wanted to drastically change the standard contract in terms of fees paid for additional broadcast territories.

“TAO took a stand against it to keep the credibility of the standard contracts as well as the trade and industry guidelines. We are afraid that other companies or ad agencies will

Palmolive TVC... shampoo models’ rates down by more than half

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MANILA Procter & Gamble has made its most ambitious foray yet in branded entertainment, bankrolling its first-ever branded full-length movie in the country.

Must Be…Love is a coming-of-age romance that stars three of the consumer giant’s blockbuster brands – Olay, Whisper and Rejoice – dubbed its ‘Ganda Trio’ alongside teen stars Kathryn Bernardo and Daniel Padilla in their first full-length movie.

The pair play best friends – Bernardo’s character however ends up falling in love with Padilla, who sees her as one of the boys. Tensions arise when another girl enters his life.

Bernardo’s character eventually transforms to become the most beautiful she can be while finding love along the way in this Star Cinema production.

get ideas and possibly follow suit,” said TAO vice president Vicky Esguerra (Admate). “Our rates are already the lowest in the region.”

The incident underscored TAO’s efforts to provide value not only to members but also to new model agencies as well as clients and ad agencies. TAO members provide 90% of talent and models for commercials produced in the country. Launched a decade ago to professionalize the industry, TAO is pushing ad agencies and advertisers to respect the terms of the 2008 tripartite agreement drawn up in partnership with the Philippine Association of National Advertisers (PANA) and the 4As and to begin work on an updated agreement.

“When the guidelines were first signed, agencies were able to implement them but it has been a while and they are ignoring them,” Esguerra noted. She identified collection of payment from agencies as a major issue but also noted that agencies were floating guidelines on rates, reshoots, audition and casting terms, overtime charges and even government rules for the hire of minors, among others. “95% also ignore the no-contract, no-shoot rule.

“The talent sector is at the bottom of the food chain,” she said, noting that talent fees have dropped sharply in the last few years – for instance, a non-celebrity talent could charge 350,000 pesos for a shampoo TVC in the mid-90s compared to 150,000 pesos today.

March-April 2013

P&G mounted a social media call-to-action offensive to drum up interest in the show and the Ganda Trio. It pointed local audiences to three ways they could help “make the movie as big as it can be”.

Local audiences were urged to watch the movie, which is screening in more than 120 cinemas nationwide, as well as spread the word about the film through their social networks. The pitch also included a call to buy the ‘Ganda Trio’, which had a dedicated Facebook page.

The Facebook page was the key platform for a photo competition in which girls 13-24 years were urged to upload a photo of themselves holding any of the Ganda Trio products.

Participants also had to answer the question: “Why do you want to achieve a beautiful transformation with Rejoice, Whisper and Olay Natural White?”

Four girls were selected from across the country, brought to Manila for a makeover and they walked the red carpet alongside the film’s stars at the premiere.

Bench tweaks logo for global expansion Interbrand gives visual identity some TLC

Manila Bench has tweaked its logo, promising further change as it seeds its new brand positioning, ‘Live Life with Flavor’, and looks to establish itself in international markets.

“The more exciting aspects of Bench’s visual evolution are still to be seen,” said a spokesman, adding that the brand “simply required some TLC guidance around its implementation”.

Interbrand created the identity to reflect the new positioning to allow Bench to continually innovate, excite and refresh its brand image for the future. “This will significantly help Bench’s plans in developing a strong international lifestyle brand.” Bench’s name is expressed in all capital letters in the new symbol (bottom image), which has a maroon background. Bench will step up use of the new symbol in its communication materials in the coming months.

G L O B AL

21

GLOBAL NEWS

Optimism uptick

Warc figures point to a more buoyant global marketing outlook in early 2013, helped by Asia Pacific’s turnaround in sentiment Infographic Benjamin Abesamis

T H E A M E R I CA S

AS I A PAC I F I C Headline GMi results by Region Trading conditions by Region EUROPE Oct 2012

Nov 2012

Dec 2012

Jan 2013

Combines data for trading conditions, marketing budgets, and staffing Above 50.0 = generally improving Below 50.0 = generally declining

G LO B A L

Source Warc

LONDON Global marketing sentiment improved for two straight months this year, according to Warc, noting that January’s uptick was the first growth in its Global Marketing Index (GMI) since May 2012.

The GMI hit 55 points in January and rose to 56.2 in February. The index combines trends tracked in marketing budgets, trading conditions and staffing levels gathered from a panel of 1,225 executives from marketing, media and agencies.

Any value above 50 points indicates a positive outlook.

Asia Pacific registered the biggest monthon-month GMI uptick from 53.8 points in January to 56.2 points as marketing budgets in the region started rising for the first time since October 2012. The region’s turnaround and continued confidence in the Americas boosted the overall index of global marketing budgets,

which climbed 1.3 points to 51.7 in February.

“The outlook for global marketing budgets has improved since the start of the year, with both the Americas and Asia Pacific recording positive growth,” said Suzy Young, Warc’s data and journals director.

Warc also noted rapid improvements in the index for global trading conditions, which reached 59.4 points, up 1.5 points from January, the highest reading since April 2012. The outlook for trading conditions remained most positive in the Americas on 60.9 points, followed by Asia Pacific on 59.7 and Europe on 57.4.

The global index of staffing levels – the third component of headline GMI – also registered further improvement in February to reach 57.6.

Staffing levels continued to climb in all global regions, with the Americas on 62.1, Asia Pacific on 58.5 and Europe on 53.2.

March-April 2013

$2.56bn The projected mobile marketing spend for Asia Pacific, the global leader in mobile advertising, this year. Source eMarketer and Starcom’s Global Media Intelligence

$232bn Asia Pacific’s projected media spend in 2016. The region is tipped to surpass the US adspend levels by 2014 Source Global Market Intelligence

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G L O BA L

2012 EARNINGS REPORT

$1bn OMNICOM GROUP Omnicom Group’s net income hit US$1bn, up about 5%, on revenues of $14.2bn, for 2012.

The group added $1bn in new business in Q4 2012 but the quarter’s growth was only half the previous year. Full year organic growth was in line with the industry average, 4% but down on 2011’s 6.1%.

£894.7m WPP WPP’s pre-tax profits rose 8.3% to £1.09bn on revenues of £10bn in 2012 but higher taxation shaved overall profits to £894.7m, down 2.4% on 2011. “We reached our targets, but we got there ugly,” CEO Sir Martin Sorrell said of the ups and downs apparent in 2012.

SAMSUNG’s BRIDGE OF LIFE Mapo Bridge, a popular suicide spot in Seoul, is being repositioned as a bridge of life in a campaign backed by Samsung Life Insurance in partnership with Seoul City. Created by Cheil Worldwide, the effort features a physical barrier equipped with motion sensors that light up the guardrail when people walk by to offer short messages of comforting words, a song lyric and jokes. It makes it seem like the bridge is talking to them, offering comfort to the anxious and depressed.

Quek named digital strategist to watch

DBS, KLM Airlines, Intel and Toshiba, among other accounts. In her current role, Quek has been at the forefront in championing meaningful engagement in Havas’ offices around the world.

She told adobo she would be keeping her eye on a few interesting trends this year.

One is being able to “distinguish signals from noise in the big data era and marrying the work from data scientists and translating it using great data storytellers”.

The other is real-term marketing, a term coined by Regis McKenna in 1995 and in full display at the recent Super Bowl and Oscars, where brands adapted their creative live to connect with audiences in the era of social TV viewing, according to Quek.

Emerges in 5th place on Guardian list LONDON The Guardian has identified Christel Quek, Havas Media’s global social marketing manager in Singapore, as one of 10 rising digital stars to watch in 2013.

Quek placed fifth in the list of 10 industry executives from London to Paris, Los Angeles and Melbourne, home to Rhys Hillman, the only other talent from the region to make the cut.

Twenty-two-year-old Quek began her career with a Silicon Valley start-up and has worked on

$983m PUBLICIS GROUPE Publicis Groupe reported bumper 2012 net income of US$938m, up 22.8% on 2011, after achieving revenues of US$8.8bn. The results were a surprise in a “disappointing year” and the cash hoard is likely to go on acquisitions after it struck more than 20 deals in 2012.

$466m INTERPUBLIC GROUP Interpublic Group’s net income of US$466.7m for 2012 is down on 2011’s $532.3m after full year revenue dipped to $6.96bn from $7.01bn previously. Asia Pacific led revenue growth (+13%) ahead of Europe (+6%) and Latin America (+1.3%).

US revenue was down 2.2% for the year.

The Guardian

TEN DIGITAL STRATEGISTS TO WATCH in 2013 01

02

03

05

04

06

07

08

09

10

Anna Andjelic

Branislav Peric

Nicollo Rigo

Bud Caddell

Christel Quek

Mark Pollard

Jinal Shah

Rhys Hillman

Mike Jacobson

Nicole Victor

Digital strategy director Woods Witt Dealy and Sons

Founder and strategy lead Blast Radius Paris

Strategist Work Club

SVP and invention director Deutsch LA

Global social marketing manager Havas Media

VP for brand strategy Big Spaceship

Digital strategy director JWT New York

Digital strategist GPY&R Melbourne

Integrated strategist 72andSunny

Global head, planning Huge

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March-April 2013

G L O B AL

NEW YORK TBWA Worldwide has scooped the global marketing account for Datsun, which Nissan Motor Corporation will be bringing back in 2014 after a three-decade absence to target the latest emerging markets.

Global creative and strategic direction will be led by a combination of resources from TBWA\Hakuhodo and TBWA\London, supported by individual markets. The agency was appointed on the strength of the innovative ‘Riser’ brand platform, which was developed for Datsun and will be deployed for its communications strategy, its global launch and local market activation. TBWA’s appointment following a competitive pitch marks a major step as Datsun nears the launch of new vehicles.

Phased out from global markets in the mid80s, Datsun will introduce the first product of the new line-up in mid-2013, and the first vehicles will go on sale in the 2014 model year. Its initial focus will be on India, Russia and Indonesia, providing local products under a global brand to the fastexpanding young middle class in high-growth markets. Local TBWA offices will be responsible

Reebok to shift global brief to DDB in 2014 Ends short stint with McGarryBowen

NEW YORK Reebok International is poised to return to DDB Worldwide as its global agency-of-record, a year after the company began working with McGarryBowen, the independent agency Dentsu acquired in 2008.

DDB will only be taking up creative duties a year from now as McGarryBowen was due to break a campaign at press-time for the

NEW WINS GLOBAL MEDIA Flag carrier Garuda Indonesia has appointed Spark Communications, part of Starcom MediaVest Group as its advertising and media agency partner to handle its global media planning and buying.

Spark won the agency-of-record assignment following a competitive review in 2012. As the media agency-of-record, Spark will handle online and offline planning and buying in all of Garuda’s international markets. Garuda’s marketing VP Amelia Nasution said Spark’s management and team had demonstrated an understanding of the airline’s vision to become a global player in aviation.

OREO’S AOR Kraft Foods China’s Oreo

sportswear giant. The shift does not affect the media assignment, which will remain with Carat.

The new relationship with the Adidas Group subsidiary will begin with the development of work for spring 2014 on.

The network, led by its New York office, will be responsible for Reebok’s digital, social and advertising campaigns.

“Our partnership with Reebok started in 2009 and we’re thrilled to work together again,” said Amir Kassaei, chief creative officer of DDB Worldwide. “We have an opportunity to redefine the fitness category and we’re ready to create conversations that move the brand forward.”

Yan Martin, Reebok’s head of global brand marketing, added: “"Amir and his team understand the mission of the Reebok brand. We look forward to collaborating with DDB to deliver our unique territory, powerful message and focused dedication to fitness to consumers around the world.”

Reebok’s marketing spend declined 5% to US$314 million, while parent company brand adidas had increased its marketing allocation, according to the company’s 2011 annual report, its latest.

March-April 2013

brand communications agency-of-record account has been awarded wwwins Isobar, Aegis group’s digital marketing agency, and sister shop Carat.

The pair have been tasked to provide complete communications services to Oreo in China. Oreo plans to bring its brand spirit ‘Share a Bonding Moment’ to life in 2013, making Oreo the bond between parents and children. “Both Kraft and wwwins Isobar believe in creating brand experiences that bring about long-term consumer engagement as opposed to a single campaign execution,” said Wayne Fan, managing director of wwwins Isobar Shanghai.

Photo wikipedia.org

Nissan brand will target emerging market

for delivering campaigns in their home countries – TBWA\Moscow, TBWA\Mumbai, and TBWA and Hakuhodo Jakarta.

Vincent Cobee, corporate vice president of Datsun Business Unit, said: “The company is counting on the Datsun brand to once again resonate with consumers in high growth markets who seek attractive styling, an accessible price and – above all – an engaging driving experience.”

DIGITAL DRIVE OMD has scooped the media planning and buying assignment of China Guangfa Bank (CGB), a national banking group on the mainland. The agency beat MindShare and Carat in the three-way pitch for the account. Danny Xu, managing director, OMD Guangzhou said: “Digital media is one of the main focuses of CGB.” ECCO PARTNER Global shoe brand ECCO has named Agenda Shanghai its agency-of-record to handle its digital strategy, creative for its campaign site/social applications, social media and digital advertising assignments, effective immediately. ECCO can be found in more than 700 stores across China. “Agenda Shanghai demonstrated strong strategic digital insight and analysis to support the entire approach,” said ECCO marketing director Mellisa Lim.

Photo diytrade.com

TBWA scores Datsun task for global return

23

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24

G L O BA L

R3 N E W BUS I N E S S LE AGU E

December 2012 Asia Pacific Top 10 Creative and Media Wins

R3 new business list points to record year

C R E AT I V E AG E N C Y

ACCOU NT

MONTH

AREA

Wieden & Kennedy

Shanghai Disneyland Park

Dec

China

Leo Burnett

Emami Navratna

Dec

India

WPP shops take group to pole position

Dentsu

NourishCo

Dec

India

Dentsu

Orangina

Dec

India

DDB

Expedia

Dec

Australia

Leo Burnett

Samba Financial Group

Dec

India

Ogilvy

Peet

Dec

Australia

Ogilvy

Yadi bicycle

Dec

China

BBDO

U Mobile

Dec

Malaysia

Y&R

Australia Chamber of Commerce & Industry

Dec

Australia

Photo www.officelinx.com.au

M E D I A AG E N C Y

ASIA PACIFIC In all respects, 2012 was a record year, with total new business wins and losses up 99% across Asia Pacific, and 25% higher in the Philippines, writes R3 principal Greg Paull.

Combining media and creative, WPP maintained its position for wins among all holding groups, with Omnicom in close pursuit in the 2012 index.

Further down the rung were Interpublic, Publicis Groupe, Aegis and Havas, in that order.

Omnicom agencies accounted for four of the top 10 creative wins in the region – credit card giant visa returned to BBDO after nearly seven years with TBWA, still keeping it in the Omnicom family while Telstra, Arnotts and Westpac Australia shifted to DDB, but Ogilvy & Mather finished the year in top position.

Looking at the top 10 media wins in the region, honors were more evenly split, with the Unilever pitch dominating the results.

MindShare, by virtue of retaining Unilever in a number of regional markets, along with other strong wins, ended the year narrowly ahead of Carat on top of the R3 league.

adobomagazine

ACCOU NT

MONTH

AREA

OMD

Consumer Brands

Dec

Regional

ZenithOptimedia

President Foods

Dec

China

MindShare

L'OrĂŠal China OTV

Dec

China

OMD

J&J Vision Care

Dec

Regional

OMD

Reckitt Benckiser

Dec

Pakistan

MindShare

360buy.com

Dec

China

Starcom MediaVest

Allianz Ayudhya Insurance

Dec

Thailand

Starcom MediaVest

PTT

Dec

Thailand

ZenithOptimedia

Wing On Travel Service

Dec

Hong Kong

ZenithOptimedia

Mengniu Drinking Milk

Dec

China

2012 Asia-Pacific Top 10 Creative and Media Wins C R E AT I V E AG E N C Y

ACCOU NT

MONTH

BBDO Ogilvy DDB M&C Saatchi McCann WorldGroup M&C Saatchi DDB Ogilvy Leo Burnett DDB

Visa Philips Westpac Commonwealth Bank GM Chevrolet Optus Arnott's Biscuits Vodafone Honda Telstra

Asia Pacific Asia Pacific Australia Australia India Australia Australia Australia Australia Australia

M E D I A AG E N C Y

ACCOU NT

MONTH

PHD MindShare MindShare OMD MediaCom Universal McCann MindShare Starcom MediaVest Starcom MediaVest OMD

Unilever Unilever Yili J&J Consumer Brands P&G Haircare Planning Australian Government Unilever Mars Wrigley Optus HTC

Greater China India China Regional China Australia Indonesia Australia Australia Asia Pacific

March-April 2013

G L O B AL

25

January 2013 Asia Pacific Top 10 Creative and Media Wins C R E AT I V E AG E N C Y

ACCOU NT

MONTH

Leo Burnett

BMW

Jan

Greater China

Saatchi & Saatchi

Mazda CX-7 and Mazda 6

Jan

China

Lowe

Garuda Indonesia

Jan

Global

BBH

Qoros

Jan

Global

Y&R

Kellogg's

Jan

Australia

DDB

Reebok

Jan

Asia Pacific

DDB

Proton

Jan

Malaysia

Lowe

Heineken

Jan

China

Ogilvy

Magic Pharma

Jan

China

BBH

Häagen-Dazs Digital

Jan

Asia Pacific

ACCOU NT

MONTH

Universal McCann

J&J

Jan

Regional

Starcom MediaVest

Garuda Indonesia

Jan

Global

ZenithOptimedia

Perfetti Van Melle

Jan

China

ZenithOptimedia

JALA

Jan

China Regional

Jan

Mars Wrigley

Jan

India

OMD

Shenzhen Mobile

Jan

China

OMD

Xiwang Food

Jan

China

Vizeum

Jinluo Group

Jan

China

Vizeum

Pag-IBIG Fund

Jan

Philippines

The R3 New Business League has been compiled each of the last 124 months using data supplied by 26 multinational agencies on a monthly basis to R3. In addition, this data supplied is balanced against Client Estimates, Nielsen ADEX, discounted to appropriate levels and then converted to a revenue estimate. R3 is the leading independent consultancy focused on tracking of agency performance, and marketing ROI for clients across the region.

Photo frenleafinstitute.com

ASIA PACIFIC New Zealand-based dairy suppplier Fonterra will consolidate its regional media planning and buying across 10 markets with MediaCom, starting April 1.

MediaCom will take over as Fonterra’s media agency-of-record from OMD to manage its full media planning and buying, including digital and as activation, for Anlene, Anmum and Anchor.

The shift comes months after the company called for a pitch in early August 2012 to select a media AOR across the region, covering China, Hong Kong, Indonesia, Malaysia, Singapore, Taiwan, Thailand, Vietnam, United Arab Emirates and the Philippines. Fonterra reportedly spends some $150 million in the region. OMD was the incumbent for nine of the makets and ZenithOptimedia had Vietnam.

In the review, each network had to demonstrate their local market strengths.

“We had two meetings with the local clients – a chemistry session presided over by R3 and, just before the decision, we met again to clarify some points and answer questions from the local clients,” said MediaCom Philippines’ deputy managing director Pico Roberto Jr. “Each local market was also asked to submit company profiles, proposed fees, team set-up, pricing guarantees and deals.” The win was particularly sweet for MediaCom, which lost a 2009 Fonterra pitch. Roberto said: “Fonterra will be a substantial piece of business for us. [We hope the partnership] will last for a long time and we will do everything we can to make this happen.”

March-April 2013

Photo wikipedia.org

Korea Tourism

MediaCom

Incumbents lose 10-market account

CHANGI REVIEW JWT Singapore trounced more than a dozen rivals to win the creative agency-of-record assignment for Singapore Changi Airport Group. JWT will create campaigns for the Changi brand across all parts of the business, including commercial, retail and airhub services. Changi’s target market includes business and leisure travelers, as well as tourism partners and airlines. JWT’s remit will include brand and tactical communications, as well as the management of Changi Airport Group’s digital presence.

AREA

ZenithOptimedia

MediaCom nabs Asia AOR from Fonterra

NEW WINS

BACK TO THE FUTURE Singapore retail icon Tangs has awarded TBWA\Singapore its above-the-line communications brief, which kicked off with an overhaul of its brand to position the company for future growth.

The appointment came after the agency had initiated a presentation showing that consumer spending had shifted online.

“Tangs’ S$45 million, three-year strategy designed to ‘bring back the soul into retail’, presented a great opportunity for TBWA to demonstrate how our ‘disruption’ methodology could support this exciting transformation,” said the agency’s general manager Lou Dela Pena.

PAINT JOB Leo Burnett’s Indigo Consulting has retained the digital account for Asian Paints, India’s largest and Asia’s third largest paint company following a nearly 10-agency shootout.

The win extends Indigo’s partnership with Asian Paints that began in 2007 and involved web, mobile, social and search over the years. Indigo will continue spearheading digital initiatives on these platforms and explore integrated customer experiences through cloud computing.

Photo newstonight.net

ME DI A AG E NCY

AREA

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G L O BA L

Guinness airs black and white ‘Clock’ Follow-up ‘Made for More’ TV spot LONDON A clock that can influence the passing of time anchors the second installment of Guinness’ ‘Made for More’ campaign, which launched in the UK last October.

Shot in black and white and set in Eastern Europe, circa the 1890s, the spot uses the metaphor of a clock that refuses to settle for the ordinary but wants to do and be more.

Accordingly, the clock speeds up time, helping a cobbler complete his work, sets time back to allow a

blacksmith to save his premises from burning down and suspends time so that a returning army can savor precious moments on arriving back home.

The spot was created by longtime agency, AMV BBDO, known for its iconic advertising to differentiate the brand. In the past, the multiawarded ‘Surfer’ drew parallels between surfers waiting for the perfect wave, which eventually turns into thundering wild stallions, and those waiting for the perfect pint, while ‘noitulovE’ – evolution spelled backwards – humorously reverses the process. Three men relishing their Guinness become mudskippers disgusted by the available brew at the end of the spot.

Guinness earmarked nearly £10 million to support ‘Clock’ in Britain and Ireland.

CRM IN NUMBERS

20%

A global Oracle survey of 1,342 senior executives found that brands in Asia Pacific had lost 20% in annual revenue on average due to unsuccessful customer experience strategies.

35%

MONOPOLY, McDonald’s way

While 81% of respondents felt that effective social media strategies were key to delivering a good customer experience, 35% did not have social media for sales channels, and an equal number did not have it for customer service.

The fastfood chain turned Monopoly into a larger-thanlife board game played on city streets in its new ‘Monopoly Millionaire’ promotion in Australia and New Zealand. DDB New Zealand’s TV spot supersizes the game’s iconic elements from its hotel pieces on city streets to an oversized pair of dice being rolled across a neighborhood. As part of the multimedia offensive, the fastfood chain even accepted Monopoly money at its stores as it encouraged the young-atheart to play with their food.

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March-April 2013

Maxus, ADK roll out Asia-wide partnership ADK taps Maxus scale for Japanese firms ASIA PACIFIC Maxus and Asatsu-DK (ADK) have launched an Asia-wide partnership called ADK+Maxus to provide regional media planning and buying services to Japanese clients, which have sizeable footprints across Asia and budgets.

Maxus, a brand under WPP’s GroupM media management bloc, will roll out dedicated offices across key markets in the region to provide media planning and buying expertise and scale.

At the core of the partnership is the new ADK+Maxus Asia Strategic Planning Center in Singapore, jointly funded by the partners and focused on supporting multi-market regional Japanese clients and their growth ambitions.

The pair have been collaborating for several years in selected Asian markets, including India and the Philippines, but the initiative takes their partnership to a new level as it covers the entire region and offers a new strategic planning resource in the center.

“We continue to look for more ways to collaborate with our Japanese partners and to provide their clients with improved access to services throughout the world,” said WPP chief executive Sir Martin Sorrell.

ADK chief executive Yoji Shimizu added: “Many of our clients are looking to the Asian markets for growth. Success in these markets require innovation and new media expertise as well as scale to offer the best value.”

WPP holds a minority stake in ADK, Japan’s third largest full service advertising agency.

G L O B AL

27

The March of TIME

Less than two months after Newsweek shuttered print operations for an all-digital format, TIME magazine was rumored for sale as parent company Time Warner wanted to offload its publishing unit Time Inc, home to iconic – but challenged – brands – TIME, Sports Illustrated and Fortune among others. With no deal in sight, it has now decided to spin off its magazine publishing business into a separate group to focus on its TV networks, film and TV production business. The move effectively removes Time from Time Warner, the company it helped create, and follows bankruptcy filing by RDA Holdings, owner of Reader’s Digest.

1918

Briton Hadden and Henry Luce launch TIME; originally planned name, Facts

1927

Introduces signature red border; launches Man of the Year with Charles Lindbergh as first honoree

1989

TIME becomes part of Time Warner with the Time Inc. and Warner Brothers merger

1999

Launches TIME 100, an annual list of the world's most influential people

2000

Becomes part of AOL Time Warner at the height of the dotcom boom

2003

Parent company is renamed Time Warner as AOL is spun off after the dotcom bust

2007

The year's first issue is delayed for a week due to 'editorial changes' that included 49 job losses

2009

Sees 34.9% dip in newsstand sales

2013

Time Inc lays off 6% of its global workforce as single copy magazine sales fall

Y&R inks Korea pact, Dentsu in Myanmar Y&R offers tools, support to Hancomm

COKE WEIGHS IN Having long been a target of anti-obesity campaigners, Coca-Cola is finally weighing in on the issue on US airwaves for the first time. Its two-minute ‘Coming Together’ video notes that Coke wants to bring people together, as it has done in the past 125 years, because the anti-obesity battle involves everyone, not just the company. A second spot points to ways to work off calories, a strategy critics claim ignores the connection between sugary beverages and obesity.

ON THE MOVE

SEOUL/MYANMAR Y&R has struck an alliance with a Top 10 agency in Korea, while Dentsu has become the latest advertising agency to launch in Myanmar, where business-friendly reforms could produce an emerging consumer market.

Under an affiliate deal with Hancomm, Y&R will provide its proprietary tools and research such as its BAV and Generation Asia products to Hancomm, which is seeking to expand beyond South Korea in line with its clients’ ambitions to go global.

Dentsu has meanwhile named Myanmar-born but Taiwan- and Japan-educated Hardy Yang branch manager of its Myanmar office. Yang previously worked in Taiwan and Singapore with Dentsu.

The launch comes as Japanese and Western companies have established operations in Myanmar, which is building its infrastructure.

Myanmar’s hosting of the 27th Southeast Asian Games this year is also expected to spark demand for sports marketing campaigns.

FACEBOOK ASIA PAC VP

MALAYSIAN SHUFFLE

IRVINE’S REPLACEMENT

Skype’s former VP and general manager for global markets, Dan Neary (pictured), will join Facebook as VP for Asia Pacific in March. He takes over from Erik Johnson, who is returning to a leadership role in the US. Neary has been tasked to lead the global marketing solutions team across the region and build and maintain relationships with regional agencies and clients from his base in Singapore.

Michael Constantine (left) has been tapped to lead McCann Worldgroup Malaysia, taking over from long-serving CEO Tony Savarimuthu, who is leaving with two other McCann executives to launch an independent shop within the McCann network.

MerdekaLHS, comprising former deputy chairman Huang Ean Hwa and ECD Szu Lee, will focus on strategy and brand consulting.

Publicis Malaysia’s chief creative officer Richard Irvine will join as McCann’s creative lead.

Ken Ratcliffe has returned to the Publicis network, this time in Malaysia, as ECD, replacing Richard Irvine (pictured) who left for McCann Worldgroup Malaysia. Ratcliffe, who previously spent six years with Publicis New York as creative director, will lead accounts such as Nestlé’s Nescafé and Maggi, Citibank, L’Oréal Garnier and 100Plus. He will report directly to Publicis Southeast Asia CEO Dean Bramham.

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G L O BA L

MEC taps Effective Measure for SEA

ADVERTISING IN NUMBERS

Digital audit will aid budget planning

5 days W A LT E R That’s how long in days Walter will be around. JWT’s start-up US agency for startups will exist from March 8 to 12 during SXSW, the tech, music and film festival.

The event’s tech portion tends to attract start-ups that could potentially be pitching the next Twitter or Facebook. If it likes what it hears, Walter will create a customized strategic marketing plan for the start-up.

$460m FA C E B O O K E X C H A N G E The five-month-old Facebook Exchange, an automated service that generates ad buys as users click around the site, is projected to deliver this amount in sales this year as the social media network looks to narrow the earnings gap with search giant Google.

JUST THE JUICE BBDO Proximity Bangkok went with an explosion of colors for its new print work for home electronics brand Tefal. All the goodness of fruit is vividly conveyed in ‘Pineapple’, ‘Carrot’ and ‘Beetroot’ to demonstrate just how effective a Tefal juicer is. Chief creative officer Suthisak Sucharittanonta led the credits list, which included Visionary for photography.

SINGAPORE GroupM media network MEC has forged a regional agreement with digital measurement provider Effective Measure to deploy its measurement solutions across the agency’s client base in Southeast Asia.

Under the audit deal, Effective Measure will provide digital campaign gross rating point measurement to MEC agencies in Indonesia, Singapore, Malaysia, Thailand, Vietnam and the Philippines.

The deal comes as clients demand meaningful data to help them better allocate their marketing dollars.

“The digital media market has evolved far beyond the fundamental metrics of clicks as the barometer of campaign success. Agencies and their clients are demanding sophistication and depth to the approach of digital measurement,” said James Robertson, Effective Measure founder and senior vice president, global accounts and market development.

“Using these tools from Effective Measure allows us to demonstrate the power and value of using the digital medium for highly executed and targeted campaigns. It affords us a competitive edge in the market where players are still misaligning measurement metrics with campaign objectives,” said Ben Poole, head of interaction, MEC Asia Pacific.

‘Dumb Ways’ makes TED ad honors roll Aussie PSA relies on offbeat humor LONG BEACH McCann Worldgroup Melbourne’s acclaimed ‘Dumb Ways to Die’ has been selected by TED as one of 10 ads from around the world worth sharing.

Created for the Melbourne Metro Rail spot to reduce the number of accidents on its rail network, the integrated campaign is a departure from gloomy PSAs. McCann deployed a mix of offbeat humor, a catchy tune and charming characters in a three-minute animated music video that became an immediate viral sensation and spawned a staggering number of parodies, covers and reposts.

‘Dumb Ways’ was the only Asia Pacific contribution selected by TED’s panel of speakers, and rising stars and luminaries from the advertising for its third Ads Worth Sharing compilation.

‘Dumb Ways’ has so far garnered 40 million YouTube views and another 11 million views of the covers, parodies and reposts spawned by the video.

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TED 2013

TOP 10 ADS WORTH SHARING Dodge Ram The Farmer

GlaxoSmithKline The Crowd

Melbourne Metro Rail Dumb Ways to Die

Dell Anne

The Guardian Three Little Pigs

TNT Daily Dose of Drama

Coca-Cola Security Cameras

Channel 4 Meet the Super Humans

Expedia Find Your Understanding

Rainforest Alliance Follow the Frog

March-April 2013

D IG IT AL

GO O G LE NEW S

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D I G I TA L

Google arrives fashionably late But the Philippines’ penchant for social referrals will prove a challenge for search giant.

Words Mikhail Lecaros

Manila On January 23, Google officially introduced a Philippine arm to its already fourstrong Southeast Asian presence, arriving in a market where rival Yahoo! is an established brand with a content-driven strategy.

Country manager for the Philippines Narciso Reyes, who spoke at the launch event, said that he and his team were looking to introduce Google as “part of everyday Filipino lives and as a partner in the development of local communities, culture and business” and Tweeted that “The PH office will help the country get more out of Google.”

Google’s entry in the Philippine market, some five years after competitor Yahoo!, has resulted in some speculation on the part of both industry insiders and the public at large on the direction the company’s operational strategy will take.

MRM Philippines’ managing director Donald Lim said that Google’s entering was “belated”, but that “I am curious what kind of outreach they will have to educate agencies about their products.” Lim went on to state that part of the inherent challenge of a primarily-search engine-based business model was a tricky proposition in the Philippines, as the market is, “not search-oriented, which is Google’s model, but more social. We call upon our friends and family for recommendations, which is better suited to a social media model”.

ON SPEC

Aspac/Law’s team came up with this Google poster as part of a fun creative exercise for the office.

Lim’s sentiments were echoed by IMMAP President Miguel Ramos, who noted the challenge inherent in promoting search in a more “socialoriented” market, but he went on to share with adobo that, “Google and social networks can play specific roles in terms of the needs of brands to engage and provide information. While there is a strong inclination to go towards social for Filipinos in general, the need for specific content that is targeted and passes high Google quality scores are likewise essential. More so in light of the focus of clients away from stand-alone brand sites to Facebook fan pages and the like. There is synergy in the way Google search can likewise be used to optimize brand assets on Facebook.

Lim expressed more optimism for Google’s sister company, YouTube, saying, “As they (Google) work with agencies, they will see a spike in demand for videos and creative ad executions on YouTube. Content seems to be the trend for 2013, and interactive and entertaining content, would be led and executed to the form of videos. YouTube is in a very prime position to take advantage and lead the digital wave for 2013. Search on the other hand, is expected to take an upward climb, especially SEM, as the long tail of business has yet to develop any clear drive to website.

Google Display Advertising, however, will remain to be consistently in demand by brands for interaction and awareness measures.”

G O O G L E Z E I TG E I ST

TOP 10 MOST-SEARCHED BRANDS

January

February

01 JS Contractor

06 Qatar Airways

01 Google Play

06 Tiger Airways

02 Google Philippines

07 Solaire Manila

02 Pinterest

07 LinkedIn

03 Cebu Pacific

08 Zest Air

03 Dropbox

08 Google Search

04 Google Play

09 IPAMS

04 AirAsia

09 Eastwest Bank

05 Facebook

10 Jetstar

05 Cherry Mobile

10 Airphil Express

March-April 2013

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s mart a d s

Mobile advertising’s booster shot Smart Communications’ new platform makes targeting easier for advertisers

SMART ADS

Senior executives Lorenzana (left) and Besa-Jimenez walk industry guests through the new mobile advertising offer

Manila Smart Communications has launched a new mobile advertising service, becoming both a media platform and marketing company while giving the promising sector a booster growth shot.

The Smart Mobile Advertising service, launched in mid-March, is a tool and platform that connects all its tools and solutions for seamless planning, creation, deployment, optimization and performance tracking, according to Leah Besa-Jimenez, Smart’s group head of digital communications.

With the platform, the telco will be able to mine customer information from its sizeable database to provide highly-targeted advertising opportunities for brands to connect with potential customers. The toolkit will also allow Smart to activate the Near Field Communications (NFC) feature on internet-enabled smartphones once owners have opted in. Customers with NFC-equipped handsets will be alerted to promotional offers when they are in the proximity of retail stores, restaurants and other outlets.

Smart’s move is not unexpected. Across the world, telcos have had to evolve their business model after internet-based communication services such as Skype have taken a bite out of their revenues. MRM Philippines managing director Donald Lim wrote about

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telcos evolving beyond their core business to become media and marketing agencies in this issue’s column (see page 31).

Smart executives said the service would provide consumers with a richer brand experience as it would take mobile advertising beyond the ubiquitous and by now ancient SMS blast. Its executives also said the service and the NFC feature were better alternatives to placing ads in mobile-optimized websites.

“Digital advertising or social media advertising has not yet been fully utilized.

Or, probably, it has never been understood in terms of using it effectively and sustainably,” said Noel Lorenzana, executive vice president and head of consumer wireless division at Smart. “A lot of it has to do with

the setting – setting the mindset, timing and location to reach the consumer.”

Bullish smartphone adoption rates have likely persuaded Smart to take the plunge. Although local smartphone penetration rates are currently under 30% – well behind the 90% seen in the region’s more mature markets – the numbers are expected to double in the coming months.

Stephen Li, Asia-Pacific CEO at MEC, said that, although the country was not behind the curve compared to other markets in the region, he was surprised that the industry was only just taking this step forward. “I would have expected the Philippines to have gotten there a bit faster than where we are today but this launch is the beginning of an exciting uptrend in mobile advertising in the country.”

Sizzling Smartphone Sales

24%

30%

Smartphone adoption rates climbed from 9% to 24% by September 2012, according to a report by GfK, making the country the fastestgrowing smartphone market in Southeast Asia

GfK found that 30% of the 5.5m mobile phones sold in Philippines in the first half of 2012 were smartphones, which accounted for 66% of the overall sales value.

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D IG IT AL

31

viewpoint

Evolution of telcos Telcos have a future -- it won’t be in selling minutes but in being a bridge to consumers Words Donald Lim

Not too long ago, industries were fairly clear-cut Businesses were able to identify competitors, and there was such a thing as a target market. All that changed with the rise of the internet and digital technologies. Businesses are now forced to navigate through a sea of ambiguity, where competitors are indistinguishable, where customers are different from what businesses thought they were.

The internet is the world’s equalizer for businesses.

Who would have thought that media companies, regardless of platform – print, broadcast, or outdoor – would all converge in digital? Who would have predicted that high-flying airlines would be forced to change their business models with the rise of online bookings? Who would have thought digital would be at the core of advertising and marketing? And how would telcos have known that their main line of business – selling minutes – would be overtaken by the likes of Skype?

Telcos used to be a behemoth in the industry; they were top advertisers for years and they hired thousands.

But the very internet access telcos sell to customers has started to impair their business of selling minutes.

Thus, telcos have shifted to a double sided platform: They earn from consumers buying minutes; and adapt a B2B model where they utilize their captured audience to sell marketing space to advertisers.

Marketers today are also looking for engagement mechanisms that close the loop between their brands and customers. Brands’ awareness issues are addressed by abovethe-line traditional media, but the Holy Grail appears to be the medium that every Filipino seems to own – the mobile

phone. However, earlier attempts to use mobile phones for marketing fell flat. Consumers found it too expensive to download SMS push content, and brands don’t like the unpredictability of paying for every download. More “advanced” efforts like push advertising and banner ads on mobile look promising. Yet, they haven’t yielded a good response to date, resulting in low brand uptake.

It goes without saying that telcos should consider the B2B model and use mobile marketing as a main contributor for their businesses. There are three things that telcos should take into account to ensure that brands will start using them as part of the media mix.

The first is Community. Telcos should invest and create an opted-in community of users so that they can take the role of an effective bridge between customers and brands. They already have the database of subscribers. It now boils down to working with brands and creating relevant content for the community.

Second is Access. While Skype surprised telcos around the world with its free offer, telcos could in fact respond back by offering free internet access. In exchange for that access, customers can opt-in to a database, or become part of engagement campaigns.

Third is Measurement. With the rise of Facebook, ‘Like’, ‘Comment’ and ‘Share’ have become valid marketing metrics. But telcos have to push the envelope and start creating measurements for mobile marketing performance. Given the scale of mobile phone owners, it’s a no-brainer that mobile will be used as a marketing tool. Telcos can work hand-in-hand with agencies to ensure that they start bringing mobile marketing forward.

March-April 2013

Donald Lim is managing director of MRM and chief innovation officer of McCann Worldgroup Philippines. He previously worked as a marketer (Burger King), in a digital company (Yehey Corporation) and media agency (Media Contacts).

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VIE WPOI NT

viewpoint

Ready for primetime Augmented reality is ripe for use and should have a role in creative marketing campaigns Words Jamie Tolentino

I’ve always been a fan of augmented reality (AR) and its potential I’ve always been a fan of augmented reality (AR) and its potential. Unfortunately, in the past few years, one too many AR apps lost their appeal for me because of poor execution. The apps either took too long to recognize an image, too long to download the 3D overlay, or just didn’t really enhance the experience that much.

However, my perception regarding AR changed after sitting down with Qualcomm’s Jay Wright and Julian Harris to talk about how their AR platform, Vuforia, can deliver good AR experiences. It comes with good image recognition capabilities, ability to scale images to fit into the real world and text recognition. Apparently, they use a lot of low cost labor (robots) to check the robustness of the image recognition capabilities to ensure that when there is low lighting or a crinkle in the paper, the AR app will still work.

They told me that, from a marketing standpoint, their platform has been

used to develop AR experiences for visualization, shopping convenience and enhancing the product experience.

Visualization Visualization is the most common case to make for using AR, where you scan an item and an image or 3D experience pops up to bring it to life. When poorly executed, this can leave the user feeling disappointed but when done right can leave the user fully engaged and in awe.

An example of a good rendition is a Science Museum app that shows James May in 3D talking as if he was in the Science Museum with you, making for a really compelling experience. You can also print a marker and see him pop up on the marker when you download the app. http://www.sciencemuseum.org.uk/ visitmuseum/jamesmay.aspx Shopping convenience AR apps can be used to enhance the shopping experience by bringing brochures to life or using displays in store. Ballard, for instance, allows you to scan a product in the catalogue and add to your cart as if you’re shopping online. The convenience of connecting the physical catalogue to a digital checkout system may lead to increased sales. https://itunes.apple.com/us/app/ballard+catalog-companion/id580280519?mt=8 Enhancing product experience Finally, AR can become part of the product itself. Band-Aid Magic Vision lets characters from The Muppets pop out of the bandaid and play with the kids, distracting them from the fact that they’re hurt.

So, the next time you have the chance to develop a creative marketing campaign, be sure to at least consider AR in your list of channels for execution. The technology is finally ripe and ready to use at your disposal, helping to increase the engagement of your target market.https:// itunes.apple.com/us/app/band-aid-magicvision-starring/id526144030?mt=8

Jamie Tolentino currently works as a digital marketer at a global asset management firm.

She was previously an innovation strategist at Quirk London.

She writes for TNW (The Next Web) and blogs on the Huffington Post UK.

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DI G I T A L

D IGITA L SHOWCASE

Digital Showcase PLDT takes Lorenzo family drama online, while Carlsberg puts friendship to the test

Carlsberg ‘Puts Friendship to the Test’ Golin Harris

Tesco ‘ClubCard TV’

SINGAPORE Carlsberg has always been about good beer and good

LONDON The supermarket giant’s new ClubCard TV platform is more than just a wanna-be Netflix. It’s a platform that allows Tesco to mine its database to track customer spending, providing brands with data to do highly targeted advertising. That is target homes that are buying a rival product. Kellogg’s, Danone and Colgate were among the first advertisers to sign up for the service, which maximizes the power of Tesco’s customer data.

friends. For its latest outing, Carlsberg has put a twist to the tagline – ‘That calls for a Carlsberg’, an online campaign that will test the power of true friendships. The real life, high drama set-up, caught on hidden cameras, entailed an early morning call where volunteers told their friends they were in trouble. Those who stood up for their friends received a surprise Carlsberg party. A Facebook application will be launched on April 1.

Dove Toronto ‘Real Beauty’ plug-in, Ogilvy Toronto TORONTO With models being airbrushed to extreme levels, Unilever’s skin care brand Dove appeared to have also jumped on the bandwagon.

In fact, the Ogilvy Toronto online execution allows users to put the brand’s nearly decade old ‘Real Beauty’ proposition to the test with an app to add a fake skin glow to the model. But when the action is taken, the image reverts to its pre-manipulated state and users are duly admonished: “Don’t manipulate our perceptions of real beauty.”

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March-April 2013

DI G I TAL SHOWCASE

D IG IT AL

35

Jollibee ‘Jollibee AR’ Hot Air Balloon MANILA The brand’s family-centered campaigns get a jolt of digital buzz with the help of augmented reality for Jollibee’s 35th anniversary. The app, available for download in Google Store, brings the brand’s online and printed posters to life and when scanned, screening a nostalgic TV spot of families bonding over Jollibee treats.

PLDT myDSL ‘David Lorenzo’s Missing Dog’ Ace Saatchi & Saatchi MANILA This time the drama in PLDT myDSL’s third instalment to the wildly popular ‘Anna Banana’ campaign involves the Lorenzo family’s pet dog Booster, which went missing on February 28, 2013. This online spot featured David Lorenzo, the father of Anna Banana star Derek, turning to Facebook for help to find his pet.

With the help of myDSL users in the neighborhood, the dog is found, and the online drama is followed up the very next day with the TV spot.

Shakey’s goes mobile to grow Philippine sales MANILA Ordering a pizza or a bucket of chicken or mojos just got easier with Shakey’s Philippines introducing a user-friendly mobile app, a nod to the growing ranks of smartphone users in the country.

Figures from rival Domino’s suggests Shakey’s is on to a good thing: Digital accounts for 33% of all Domino’s sales in the US; 30% of which comes from mobile devices.

The Shakey’s PCM app — available at the App Store for Apple iOS phones or Play Store for Android devices — is all a customer needs on his smartphone to order pizza, chicken and mojos and even pay with a credit card in addition to the usual cash-on-delivery terms.

March-April 2013

Customers select their group size before ordering from a menu of 16 pizza choices, which is followed by pre-selected chicken and mojos and beverage options. To compensate for slow internet speeds, the service also includes an SMS feature.

Franchise operator International Family Food Services Corporation has bankrolled an integrated campaign to support the app’s roll-out. The key visual from TV to print, outdoor and digital is three talents performing a modern dance of sorts – their hands and fingers tracing light waves that represent the menu choices available through the PCM app.

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T HE W ORK

CREATIVE R EVI EW

Brandie Tan is an award-winning

B R A N D I E TA N

Creative Review We see ads on social networks now more often than before.

They are posted, fighting for attention along with other user-generated content such as the Harlem Shake. We press LIKE if we like it. Then we press SHARE if we love it.

Or we simply SCROLL DOWN to the next wall post.

ECD who has worked with BBDO Guerrero and JWT in Manila and Lowe in Vietnam and now Malaysia. He brought home the country’s first-ever Gold Lion while at JWT. Tan has worked on Pepsi, Visa, FedEx and the Philippine Department of Tourism, among others. He has won over 200 advertising and effectiveness honors and his work has been featured in Jim Aitchison’s Cutting Edge Advertising and Clueless in Marketing Communications, Creative Review, Contagious and Campaign Brief Asia’s The Work. He currently oversees campaigns for F&N Dairies, Perodua, Etiqa, and Unilever, to name a few.

Gatorade ‘Football’ DDB Philippines Print I play football (when I can). This ad talks to me. I can imagine kids wanting to get plastic cups to make toys out of them after seeing this ad.

LIKE. I’d SHARE it in Pinterest. I’d probably Photoshop out the ‘THAT’S WHY’ line next to the logo before pinning it though.

McDonald’s ‘Hooray for Today’ Leo Burnett Manila TVC Made me miss Manila. LIKEd the Yuna-style singing. It was talking to me ’til the children started singing.

Who’s the target? Young professionals or children? The execution reminds me of Sagmeister’s recent work. It would be cool if it had not been used in an ad before but, Sagmeister did one for Standard Chartered Bank a couple of years ago. Scroll Down.

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March-April 2013

C R EATI VE R EVI EW

March-April 2013

THE WORK

37

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T HE W ORK

CREATIVE R EVI EW

14th Cinemanila International Film Festival ‘Widows’ TBWA\Santiago Mangada Puno TVC The film was done in a way that made me want to find out why these women are singing a ‘harana’ song to themselves.

It’s a good thing they reveal it in the end.

Then I press LIKE. I’d probably SHARE it if I had a relative who might find it interesting as well.

Greenpeace ‘Tick’ JWT Manila Print I’ve always LIKEd this. Having seen it for the first time in Spikes. LIKE. SHARE. Don’t you just love where the longer blade of grass is over the box? Great attention to detail.

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March-April 2013

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THE WORK

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Pasig City ‘What Yosi Is What You Get’ IdeasXMachina Print

LBC ‘Skidmarks,’ ASPAC/LAW Print

Reminds me of those pictures on cigarette packs sold here in Malaysia and other Asian countries where they show the severe effects of smoking. Can’t get over the word pun. Sorry. Although I’m thinking it would have worked on the Filipino market.

Too scary looking to SHARE. Scroll Down. Maybe even click HIDE.

Looks familiar. And looking at if from the LIKE and SHARE context, I would Scroll Down. Having said that, the art direction is very clean. And was done with restraint. The art director could have easily messed up the idea by putting the leaves on an actual road.

Department of Tourism ‘Lovers’ BBDO Guerrero/Proximity Philippines TVC I saw this on my Facebook Wall when it came out. And I did press LIKE and pressed SHARE. Made me miss Boracay. Makes me think of what I should do whenever I do plan to propose someday. Or maybe, should work on getting a girlfriend first.

March-April 2013

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CREATIVE R EVI EW

Nescafé Philippines ‘Nescafé Classic Kada Umaga’ McCann Worldgroup Philippines Digital Funnily enough, this idea really is on Facebook. Nescafé does have over a million LIKES. And the app does have a big SHARE function as part of the promo. Does this app have a refresh function where It would be the first thing I see every morning when I open Facebook? It would be cool if it did.

Then the name of the promo ‘Kada Umaga’ translates ‘Every Morning’ would make sense to me.

UPMG Tinta Awards ‘Dog Adoption’ Y&R Philippines Print

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Ads about award shows are tough briefs to solve. I remember D&AD had the ‘Obsessives Only’ campaign several years ago which used the same execution of putting editing marks. I’d SHARE it with my ad friends though. I think I did.

March-April 2013

C R EATI VE SHOWCASE

THE WORK

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THE WORK

Creative Showcase

Leo Burnett McDonald’s ‘Eyes on Your Fries’ TVC Advertiser McDonald’s Creative agency Leo Burnett Creative director Dante Dizon Art director Ella Quiogue Copywriter Aimee Espiritu Producer Jeng Floresca, Lyda Aguinaldo Accounts Golda Roldan, Maik Alturas, Tria Sordan, Krista Romero Director Henry Frejas Production house Filmex Post production Optima Digital Sound production Hit Productions

Cheil Worldwide Samsung ‘Why’ TVC Advertiser Samsung Creative agency Cheil Worldwide Creative team Geoff Dizon, Cyril Torres Producer Irene Chingcuanco Production house !Gung Ho Films Executive producer Wendy Campos Accounts team Onat Roldan, Gette Barrera, Niki Roxas Director Joaquin Valdes Post house Riot Colorist Aldrich Matti Offline/Online editor Joanna Eduardo VFX team King Santos, Ronil Vergel, Jaz Bernardino, Cory Mercado, Rhona Sayo

March-April 2013

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Collab/HMVO Phoenix Petroleum ‘Old School’ TVC

CREATIVE SHOWCASE

Advertiser Phoenix Petroleum Creative agency Collab/HMVO Creative directors Tony Sarmiento, Bixie Reyes, Jason Drilon Art director Aries Cayabyab Account managers Hermie De Leon, Yeyet De Leon Producer Telly Arce Director Dax Dacayan Director of photography Christian Halili Acting director Sunny Dumayas Executive producer Wendy Rivera-Campos Marketing assistant Arlene Sulit-Manalo Chief of production Boji Ventura Creative assistant Bianca Catbagan

IdeasXMachina The Philippine Star ‘Truth Jackets’ Print

Advertiser The Philippine Star Creative agency IdeasXMachina Creative director Third Domingo Copywriter Jasper Ilagan Art director Francis Homo Account manager Nichola Liboro

Ace Saatchi & Saatchi Lexus ‘Lexus Chinese New Year’ Print Advertiser Lexus Creative agency Ace Saatchi & Saatchi Creative director Greg Martin Associate creative director Angelo Suarez Art director Joaquin Montesclaros Copywriter Mark Peckson Illustrator Tony Alunan Additional credits Andrew Petch, Trixie Diyco, Denise Tee

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March-April 2013

C R EATI VE SHOWCASE

THE WORK

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Y&R Philippines Kassel Residences ‘Kangaroo’ Print Advertiser Kassel Residences Creative agency Y&R Philippines Executive creative director Badong Abesamis Creative director/art director Herbert Hernandez Copywriter Badong Abesamis Retoucher Ringo Francia Illustrator Pilipino Reyes

BBDO Guerrero Sky Broadband 10Mbps ‘Oversleep’ TVC Advertiser Sky Broadband Creative agency BBDO Guerrero Chief creative officer David Guerrero Executive creative director Tin Sanchez Associate creative director Jeck Ebreo Copywriters Nikki Golez, Tin Sanchez, David Guerrero Art director Race Cuneta Producer Idda Aguilar Group account director Ombet Traspe Account manager Marvin Osorio Director Erik Matti Cinematographer Dix Buhay Production house Revolver Studios Post production house Postmanila Audio production house Hit Productions

March-April 2013

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CREATIVE SHOWCASE

Y&R Philippines ‘Young Creative Competition (Cannes Young Lions)’ Creative Guild of the Philippines Print Advertiser Creative Guild of the Philippines Creative agency Y&R Philippines Regional creative director Marcus Rebeschini Executive creative director Badong Abesamis Creative director Herbert Hernandez Art directors Herbert Hernandez, Derrick Periodico Associate CD/copywriter Marco Dimaano Photographer Miko Montifar Print producer Ariel Bautista Final artwork Ringo Francia

BBH Singapore Unilever (Surf Fabric Conditioner) ‘Clock Number’ Advertiser Surf Fabric Conditioner Creative agency BBH Singapore Creative director Peter Callaghan Art director Eirma Webster Copywriter Angie Featherstone Strategic planner Frank Reitgassl Business director Neil Small Account manager Genevieve Seah Agency producer Irene Gan Director Robin Walters Prod company producer Matt Noonan Production house Curious Films Audio Fuse

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March-April 2013

CALL FOR ENTRIES PROFESSIONAL CATEGORY Entry is eligible if the work was released commercially between Feb 1, 2012 - March 31, 2013

3 APRIL 2013 DEADLINE FOR SUBMISSION 26 APRIL 2013 AWARDING CEREMONIES

Press & Poster Corporate Brand Identity Typography Digital/Interactive AYALA MUSEUM Publishing: Books/Magazines Production Design Environmental/Spatial Packaging Design Product Design T-Shirt Design Broadcast Animation/Music Video Outdoor/Ambient Illustration/Applied Graphics

OPEN/THEME CATEGORY This category is open to students, freelancers and professionals

Theme: Manila’s Pop Culture Work may be submitted in any format: poster (graphic illustration) or video (motion graphics up to 7 minutes)

www.adobodesignawards.com

email: designawards@adobomagazine.com Tel: 02 845 0218 / 0915 514 8815 / 0999 983 7403

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Ad of the Year

A D OBO AD OF THE YEAR

THE CONTENDERS

adobo’s Ad of the Year was chosen in an online industry poll of our Ad of the Month choices. This year’s selection includes work that has gone beyond advertising to include an app and an engagement initiative for a brand’s sizeable Facebook community.

JANUARY Nokia ‘Taxi Meter App’, Digital, Y&R Philippines

FEBRUARY Advertising Standards Council of the Philippines ‘Suitor’, TVC, Ace Saatchi & Saatchi

MAY Solar Entertainment Corp., United International Pictures, and Universal Studios ‘Clapper’, Outdoor, Campaigns & Grey

J U NE Carefree ‘Carefree Cats’, Film, Ogilvy & Mather Philippines

SE PTE MB E R Office of Koko Pimentel ‘Zombie’, Film, Campaigns & Grey

OCTOBER Manila Hotel ‘False Cover’, Print, JWT Manila

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March-April 2013

ADOBO AD OF THE YEAR

THE WORK

MA RCH Monami Pens ‘Fine China’, Print, DDB Philippines

AP RI L Eye Bank Foundation of the Philippines ‘Touching Words Card’, Print, TBWA\Santiago Mangada Puno

J ULY Monster RX 93.1 ‘Hip-hop Girl’, Print, DM9JaymeSyfu

AU GU ST Meralco Development Foundation ‘Puno’, Film, IdeasXMachina

N OV E MB E R Nescafé Philippines ‘Nescafé Philippines’, Digital, McCann Worldgroup Philippines

DECEM BER LBC E-Cab ‘Skidmarks’, Print, ASPAC/LAW

March-April 2013

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CREATIVE COR NER

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THE WORK

Creative Corner

We crash the creative workspace of Tequila Manila’s executive creative director, Marci Reyes

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Marci Reyes

Executive Creative Director Tequila Manila

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March-April 2013

C R EATI VE COR NER

01 Laptop

Where life is stored

02 iPhone 5

Where life is linked

03 Stand lamp

A lamp I never use

04 Office landline

A phone I never answer

05 Planner

A planner I never check

06

06 Stormtrooper figurines

Stormtroopers I stole from my brother. Ideas should be like Stormtroopers.

They never run out.

07 Air Jordan case

An Air Jordan Silver Anniversary case. Nike is one of my favorite brands. Their campaigns always inspire me.

08 Brass knuckle mug

Brass knuckle mug for knocking me to my senses in the morning.

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THE WORK

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15 Ball chairs

Clones Clones for conflict meetings.

Ball chairs. They’re not really in my cubicle. I just got them from our lounge for this shoot.

13 Nike Air Max Hyperposite

Everyone should have a passion aside from advertising – mine is collecting sneakers.

14 Painting

One of the beautiful paintings we have all over the office.

We need them otherwise all the whiteness will blind us.

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BA NG FOR THE BUC K

Bang for the Buck A c a s e fo r e f f ec t i v e n e s s

Bundaberg Rum ‘Watermark’

Client Diageo Australia Agency Leo Burnett Sydney

Award Wins The campaign scooped the Creative Effectiveness Lion at Cannes 2012, Australia’s first at a global show, and a Globe in the 2012 MAA Globes among its top prizes.

What Is It? The campaign was essentially the brand’s response to severe flooding that devastated Queensland in December 2010, the state’s worst natural disaster, which affected an area roughly the size of France.

The state’s economic life was choked when supply lines faltered and customers watched their budgets for fear of losing their jobs or having to foot huge repair bills.

For Bundy, as the brand is known in Australia, the disaster was a huge blow: Bundy has been synonymous with Queensland for more than a century – Queensland’s fate was also its fate.

But there was no playbook for Bundy to craft a response. Even as it was sent reeling by the disaster, Bundy needed to help get the state back on its feet.

It hit on the idea to lift the spirits of Queenslanders, while rallying Australians around the recovery effort. ‘Watermark’ served as a powerful platform for the communications effort, which included a series of benefit concerts, and the launch of a limited edition product to fund relief efforts. The Bundaberg Watermark five-year-old rum range came in individually numbered bottles.

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Results The Watermark product generated $935,000 in profits, which were channeled to charity ‘Watermark’s communications produced 7.1 million impressions in Queensland media through PR-related articles, interviews and stories in a state where the total population is 4.5 million.

‘Watermark’ also helped Bundy improve key measures for trial, conversion and consumption

March-April 2013

in Queensland for 2011 even as those measures declined for competitors Jack Daniels and Jim Beam.

Why It Worked Bundy demonstrated its commitment to stand by the state and its residents during their darkest hour, lending a helping hand when they needed all the help they could get. Its message of hope, backed by relief contributions, had a profound impact on the state’s residents.

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Necessary spectacle Unfilmable book explodes on big screen with mystical, magical images Words Joaquin Valdes

If there’s one thing I absolutely respect about Oscar winner Ang Lee, it is his deep and thorough understanding of the cinematic medium, and his constant pursuit to deliver a genuine story with it.

Ang Lee has been called eclectic since the themes he has chosen aren’t remotely associated with one another. Yet while he isn’t as persistent as Nolan or as grandiose as Cameron, he stays true to his subject and relentlessly explores all possible filming methods that would best serve his story.

Such is the case with his recently lauded Life of Pi, which saw the now bankrupt sound effects house Rhythm & Hues Studio win the best visual effects Oscar.

Adapted from Yann Martel’s Booker Prize-winning novel, Life of Pi chronicles the 220 days Piscine Patel, Pi, spent stranded on a lifeboat with only a Bengal Tiger named Richard Parker for company.

The novel was described as “impossible to film” as it was more abstract than plot-driven.

The story really begins when the freight ship bringing Pi and his family to North America is hit by a typhoon, leaving only our hero and a couple of zoo animals on a lifeboat, as survivors.

The first boat scenes are a luscious

display of cinematic silence, impressing on us the attempts to survive in the limbo of water and in the company of the ferocious Richard Parker. The odyssey is a decadent and lush film experience, where Ang Lee’s obsession with method is justified.

Lee had initially debated the idea of shooting the entire piece in stereo. This meant he saw the story fulfilled through a 3D experience.

His main concern was whether a fully rendered CG animal, like a tiger, was more believable and more realistic if shot in stereo – a studied and specific concern, but a valid one. From the outset – and this is quite hard to believe that the same director, who allegedly ruined the fantasy of every comic book geek with his interpretation of The Hulk – could have pulled off something as clean and sleek as Pi. The images are nothing short of breathtaking. While Pi is whipped around in what seems like an apocalyptic storm, Ang Lee takes us underwater, away from the surface chaos, punctuating the silence with the grandeur and the beauty of the tragedy.

The images become more astounding as the film unfolds: A small boat floating in the middle of a cosmic space, the starry skies reflected on the calm ocean surface; an

March-April 2013

Joaquin Valdes is a film and commercial director from Gung Ho Films Manila and an all-around talent with television, theater and films to his name, including the multi-awarded Bulong and Dagim.

oversized whale shark swimming beneath the boat and towering above it creating a splash worthy of science fiction; an island populated by meerkats and flesh eating flora and fauna, an army of flying fish, manna from heaven, swarming the boat, and Pi revealed as god-like, with what looks like glowing scales in the sun.

And that’s just a few of the amazing images.

Ang Lee, needed these images to be larger– than–life, mystical, magical and surreal if only for the viewer to understand why Pi decided to remember it this way. Life of Pi not only showcased technological breakthroughs in filmmaking, but also fortified Lee’s status as an important filmmaker.

Continued on page 53

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CREATIVE review

C R E AT I V E G U I L D ’ S R A W S C H O O L

Refusing to live in her head, Leigh Reyes inspires Raw School students to go out and make things

Breeding Stuffmakers

Words Danielle Austria Visuals Leigh Reyes

Urban butterflies Creativity is alive and well in Manila’s bustling street market, Divisoria

In his book, Makers: The New Industrial Revolution Wired writer Chris Anderson espouses the Maker Movement. The man who coined the ‘media longtail’ term sees makers driving the next big wave in the global economy.

All thanks to growing appreciation for custom-made and DIY products and the internet. By connecting people far and wide, the world wide web has made it possible to be both small and global, artisanal and innovative, high-tech and low-cost, starting small and growing big.

But most of all, the internet has created a market for the sort of products the world

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wants but doesn’t yet know it because such products “don’t fit neatly into the mass economics of the old model”.

Speaking to Raw School students, Lowe Philippines president and chief creative officer Leigh Reyes believes the movement will gain greater momentum if everyone, creatives included, moved beyond ideation to pure creation. But with agency creatives, creativity usually ends where it starts, when the proverbial light bulb switches on to an idea.

“Ideas are great. Ideas are the engine that fuels this industry. Clients pay us for ideas. The problem I have with ideas is that they’re easy to make, but 99% of them don’t get made,” said

March-April 2013

Reyes who is taking her talk to Pattaya, where she will present it at AdFest’s Speaker Session.

In a world where people are moving from factory to desktop manufacturing, aided by online “personal factories” such as Ponoko, Reyes said advertising agencies should move beyond ideation to future-proof their business.

“As creative people, if we never finish, we are less the creators we can be,” said Reyes, mourning the lack of makers in advertising.

Instead of conforming to the norm of outsourcing the execution of an idea to production agencies, Reyes told students they should be able to answer the “how” question, how to turn ideas into reality,

C R EATI VE review

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Furry Ears DIY sites like instructables.com, which offer tips on making animatronic cat ears are, driving the shift from factory to desktop manufacturing

in addition to the “why” and “what”.

What people want and why they do what they do haven’t changed. But the how – the way people do things – has as, the internet has provided ways to do so.

Reyes says it is essential that people update their toolbox since the tools on hand generally dictate the solutions that are created. As the saying goes, “To a man with a hammer, everything is a nail.” Reyes noted: “If you learn new tools, you can create new things.”

Three tools are essential in today’s creative box: Inspiration, protoyping, and networking.

Creativity begins with inspiration. Reyes pointed to the internet, which abounded with great sites to stimulate creativity – instructables. com, necomimi.com, and makeprojects.com.

“Our eyes miss the rawness and beauty of things that are made by hand. And it’s so much more important to feel that nowadays, even if our emotions can now be expressed by cat ears that run through our brain

“Ideas are great. Ideas are the engine that fuels this industry.

Clients pay us for ideas.

The problem I have with ideas is that they’re easy to make but 99% of them don’t get made.”

waves,” Reyes said of weird but wonderful products like brain-controlled cat ears.

Reyes then touched on the importance of prototyping/wireframing the idea to make execution easier. Storyboards, with their scene-by-scene narrative, have served the analog world well but the newer, “if-thisthen-that” process of wireframing an idea is garnering support from the tech industry because of its efficiency and ability to plot the

step-by-step user experience – it’s like scripting a walkthrough video. There are countless software and apps that can aid creatives in the process.

Reyes herself uses prototyping tools Keynote, Omnigraffle, Balsamiq mockups and the humble paper and Sharpie combo.

Her favorite virtual and physical haunts for raw materials include Adafruit, Makeymakey, Inventables, Divisoria, Ponoko and Shapeways.

But the process of creating doesn’t stop there. Sharing with the community is as much a part of the creation process; it fuels networking to deliver much-needed start-up funding to start development and markets once the product has been produced. “Networking is necessary because you need to be able to share what you make and how you make them.”

Reyes pointed Raw students to maker fairs such as Mobile Monday Manila for developers and Start Up Weekend for grassroots entrepreneurs as they provide wonderful opportunities for networking.

Continued from page 51 Through the silences of this quiet, experiential film, the images and the words of the novel came to life like a feast. The images served only one purpose: To deliver the story, while keeping to a fine line where more would have rendered the film dishonest and less would have weakened it.

While after-movie debates are more philosophical with this piece than Nolan’s Inception, one cannot deny the film’s accomplishment. Shot entirely on a tarmac in Taiwan, Ang Lee pushed the medium by shooting all the sequences against chroma, allowing character animation and visual effects studio Rhythm and Hues to bring the composites to life. The real talent here is Ang Lee’s success in bringing his vision to life.

He had intended to shoot in 3D and he had intended for us to view it in 3D and for good reason.

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Watching it in 3D made for a more lasting experience. It compelled us to live the survival as our hero had lived it. It successfully delivered the catharsis akin to the fantasy films I grew up on; but this time appealing to the idealist within the cynic. It is an epic adventure for us grown-up kids, who need to separate the real from imagined, but still like the lines blurred on occasion.

As the credits rolled, I found myself thinking deeply about what I believed to be true. What I wanted to be true. I had been raped, embraced, touched and moved by images that only come to life in dreams and imagination. After having so much fantasy engulf you, you are forced to choose what is true for you. For a good five minutes after the film, my girlfriend watched me as I took a moment of silence to take stock of everything that I had just seen; to let it sink in, to let it settle.

All the while still wearing my 3D glasses. If that isn’t catharsis, I don’t know what is.

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har d at play

THE WORK

55

JWT TRENDS

Hard at play Companies want in on play-time. Why? Because it offers a competitive edge

Animals do it, so do kids. Now it would seem grown-ups want in on the action. To play, that is.

While playtime has undergone a sea change in the last 50 years – from analog options like hide– and–seek, cops–and–robbers and board games to multi player online marathons or tablet encounters with angry birds or zombies today – its benefits have long been recognized, at least for kids.

Play has been credited with helping children learn valuable life lessons, develop social and emotional skills and for firing up their imagination and creativity.

Now play is seen to deliver a competitive advantage to companies especially after the experiences of wildly successful organizations such as Google.

The internet giant’s best-known products, from

Gmail to Google News were developed by engineers who were allowed to spend 20% of their time on their passion projects.

Growing interest in unstructured leisure activities prompted JWT to rank play at the top of its 2013 annual trends report on consumer behavior.

Explaining the trend, its trendspotting director Ann Mack said: “In an age when people feel they can’t spare time for pursuits that don’t have specific goals attached, there will be a growing realization that unstructured time begets more imagination, creativity and innovation – all competitive advantages.”

JWT Manila executive planning director Pam Garcia added: “Play is supposed to enrich our lives. Our play now is gadget-oriented but this is not.”

It’s more in the vein of activities conducted by groups such as Washington-based Spacious, an advocate of the growing Play Movement in a country where national conferences have underscored the value of play for physical and mental wellbeing.

Spacious officials told the Washington Post in an interview that the aim was to ensure the 50-hour workweek included recess. Taking its cue from food trucks, the group plans to deploy tricked-out decommissioned vans across the city

to bring recess to Washington’s weary, with servings of cookies and milk or fun activities such as line dancing.

While boardrooms are belatedly realizing that play has benefits, brands like Kit Kat, McDonald’s among others have been quicker on the uptake (see brands at play). For years, the Nestlé brand has associated itself with playtime with its classic ‘Have a Break, Have a Kit Kat’ campaigns.

Brands in the Philippines have been equally adept in bringing play into the marketing equation, either because it’s part of their DNA or as a nod to the country’s sizable appetite for fun. In the former category, Unilever’s Axe brand sexed up the cops–and–robbers game by having 100 attractive Filipina plays cops and hunt down 100 ordinary looking blokes, the robbers, on a course filled with obstacles and challenges.

The first cop to cuff her man, sporting the same number tag as her, won a 1 million peso “reward”.

Smart Communications meanwhile

Brands at Play Brand Kit Kat Activity Free No-WiFi Zone, 2013

Brand McDonald’s Activity ‘Playland’, 2010

Brand Perry Ellis Activity Brand make-over, 2012

Kit Kat erected public benches in Amsterdam, which were essentially noWiFi zones, blocking signals within 5m.

It wanted to give people a break from technology, from phone calls, emails and social media feeds, in this always-on age.

The company had its customers seeing spots in a playful campaign to revitalize its flagship brand. Its advertising shows a model with a hole puncher who appears to have punched holes – actually polka dots which are part of the brand’s heritage – in its print ads.

The chain created a playground for adults too tall to enter play areas in its restaurants as part of its ‘Playland’ integrated campaign in Sydney. There is a YouTube channel, online advertising and more of Playland, which has a 2.5m high bench, adult-sized swings and a dazzling array of slides.

March-April 2013

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Illustrations Claudine Delfin

Interview Emarrah Sarreal Words Marie Long

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turned a recent 5km run into something of a fiesta. It ditched timekeepers and had runners doused in different colored powder as they cleared each kilometer of the route, making it a run with a difference.

The pair’s activities make sense in a market where appreciation for fun runs deep. Which is welcome news for local motivational marketing and training group TrainStation. Its training programs are anchored on playtime, fusing psychology with fun, facts and fundamentals.

Course participants run the gamut from more serious professions – medical, legal and accounting – to helping brands with below-the-line and activation activities.

“Entertainment is a very good model for communications so that’s what we use,” says CEO and president Carelle Mangaliag.

The group has created life-sized board games to provide learning on multiple intelligences and done improv comedy and acting when discussing computer servers. “We believe that engaging the right brain creates not just recall of terminology but also an emotional memory or attachment, which help when we do brand activation and motivational marketing.”

TrainStation counts Publicis and

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ha rd at play

The flip SIDE “Play doesn’t inspire me to create ideas. Instead, good work inspires me to play harder. I do my best in my day job so I can enjoy whatever I want to do afterwards. Mas prize ang laro sakin (Play is more of a prize for me). My parents raised me that way.”

Herbert Hernandez Creative director, Y&R Philippines

“I would say, have fun rather than play. Playing frustrates me a lot and I get more ideas when I am having fun.

Watching a good viral video is fun, eating is fun, sharing chismis (gossip) is fun, singing is fun, drinking is fun, foot massage is fun. Playing is overrated but that’s just me.”

EUGENE DEMATA

Executive creative director, Di9it

March-April 2013

Dentsu as clients and it has partnered with OgilvyAction and A+B Expedio for below-the-line and event marketing.

If play works for consumer engagement, has it been helpful at source: With creatives?

Avery Neal Alina is a fan, insisting that “play plays a big part in recharging or getting ideas”.

But play for the senior art director of Aspac\ Law is essentially one thing: Video games.

He credits the games for immersing him in a different world and firing up his creativity.

“I was playing Gran Turismo 5 when we were tasked to make a TVC for Honda CR-V. I used the replay function in the game where you can control the game’s camera angles to make dramatic beauty shots of my cars in the game and in turn used those angles to make dramatic beauty shots of the CR-V in our TVC.” Alina has even used visual stylings in games as inspiration for print layouts or TVC executions.

The experiences of Alina and his peers aside, it remains to be seen whether playtime will move from corporate fad to an enduring part of the business landscape. Whatever the case, brands like Kit Kat, Perry Ellis and Axe, among others, want to keep on playing because it makes good business sense for them.

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t he gunn and bi g won r eport

The numbers have been crunched to rank THE 2012 GUNN REPORT

Gunn

R E P O R T AC C O L A D E / R E C I P I E N T

Asian shops shine in print and digital but fail to make Top 10 cut for film

Top Network

BBDO

Top Holding Company

Not Applicable

Most Awarded Creative Agency Already the Most Awarded Print Ad of All Time, JWT Shanghai’s ‘Heaven and Hell’ was named the Most Awarded Print Ad/Campaign in the World for the second year running in the 2012 Gunn Report, which saw a handful of Asia Pacific shops make the cut.

Ogilvy Kuala Lumpur’s ‘Quick Draw Wins’ Pictionary campaign and Ogilvy Shanghai’s Cannes Grand Prix winner ‘Coke Hands’ came 2nd and 3rd. ‘Egypt and Rome’ for Maxam, another spectacular collaboration between JWT Shanghai and uber production house Illusion Bangkok after ‘Heaven and Hell’, was the 9th most awarded.

Not a single shop from Asia made the Top 10 for Most Awarded Commercials although a handful of Japanese and Australian shops were in the Top 50, led by BMF Sydney’s ‘Nocturnal Migration’ (22nd).

Asia had a better run for Most Awarded Digital in the World with Japan’s Projector Inc’s ‘The Museum of Me’ and Hakuhodo’s ‘OkGo’ for Google Chrome, in first and second spots respectively. Dentsu Inc’s ‘Connecting Lifelines’ for Honda Internavi (9th) and PARTY Inc’s ‘Bell’ for Warner Music rounded out the Top 25.

Clemenger BBDO Proximity Melbourne’s cheeky but effective ‘Break Up’ program for National Australia Bank was the highest ranked campaign from an Asia Pacific shop for All Guns Blazing. Leo Burnett Sydney and Projector Inc were tied in 6th place with ‘Watermark’ for Bundaberg Rum and ‘The Museum of Me’.

Asia Pacific markets did better in Gunn’s Most Awarded Country rankings than in Won’s: Australia was the 3rd most awarded country in Gunn (it placed 4th in Won), up from its 6th rank in 2011, followed by Japan, which jumped four places from 2011 to 4th place (11th in Won). India and China also improved on their 2011 showing, rising to 13th and 14th spots respectively, while Thailand tumbled from 13th to 16th spot in 2012.

Dentsu Tokyo and Fukuoka tied with Adam&Eve London for 5th place, the highest rank attained by an Asian agency for Most Awarded Agencies.

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Wieden+Kennedy, New York & Portland

Top Agency, Asia Pacific

Not Applicable

Top Country

United States

Top Campaign All Media Most Awarded TVC Top TV/Film Campaign

Not Applicable 'The Bear', Canal +, BETC Euro RSCG Paris

Top TV/Film Agency

Not Applicable

World's Top Poster Campaign

Not Applicable

Most Awarded Print Ads/Campaigns Top Press/Print Campaign Top Press/Film Agency

'Heaven & Hell', Samsonite, JWT Shanghai

Not Applicable

Most Awarded Digital Top Digital Campaign

'Museum of Me', Intel, Projector Inc., Tokyo

Most Awarded Digital Agency Top Digital Agency

Hakuhodo Inc., Tokyo

Top Direct Marketing Campaign

Not Applicable

Top Direct Marketing Agency

Not Applicable

Top Creative Officer/ECD

Not Applicable

Top Art Director

Not Applicable

Top Copywriter

Not Applicable

Most Awarded Advertiser

Volkswagen

March-April 2013

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2012’s most-awarded work and agencies THE 2012 BIG WON REPORT R E P O R T AC C O L A D E / R E C I P I E N T

BBDO

Big Won

Colenso BBDO is Top Agency, leads six other Asian shops into Top 20

Omnicom

Colenso BBDO, Auckland

Colenso BBDO, Auckland United States

'The Bear', Canal +, BETC Euro RSCG Paris 'The Bear', Canal +, BETC Euro RSCG Paris

BETC Euro RSCG, Paris

'Coke Hands', Coca-Cola, Ogilvy & Mather Shanghai

'Heaven & Hell', Samsonite, JWT Shanghai

DDB Singapore

'Back to the Start', Chipotle, Creative Artist Agency

PARTY Tokyo, Japan 'The Gnome Experiment' Kern & Sohn, OgilvyOne

Colenso BBDO, Auckland David Lubars, BBDO New York Yassine Boughaba, Memac Ogilvy Tunisia

Levi Slavin, Colenso BBDO Auckland

Not Applicable

Colenso BBDO Auckland emerged as Won’s Top Agency in the World across all media in a year that saw a total of seven shops from Asia Pacific also make the Top 20 cut.

They were DDB Singapore (7th), Dentsu Tokyo (8th), Whybin TBWA Tequila Sydney (9th), JWT Shanghai (18th) and Y&R Malaysia and George Patterson Y&R Melbourne, tied at 19th.

Colenso also topped the Asia Pacific ranking, with DDB Singapore, Dentsu Tokyo, Whybin TBWA\Tequila Sydney and JWT Shanghai rounding out the top 5.

Leo Burnett Melbourne came 7th, the highest ranking by an agency from Asia Pacific, for Top Campaigns Across All Media Channels with ‘BYO Cup Day’ for 7-Eleven. The ‘Heaven and Hell’ creative kept on giving for JWT Shanghai, which trailed ‘BYO’ by a handful of points. Down Under shops also performed strongly in this category: George Patterson Y&R’s ‘Mobile Medic’ and Ogilvy Sydney’s ‘Share a Coke’ placed 10th and 11th. Colenso’s ‘Sorry About the Twigs’ for DB Breweries tied with Cheil Korea for ‘Sunny Sale’, the QR-based campaign for EMart.

Asian offices took the first two spots for Top Press/ Print Campaign – JWT Shanghai with ‘Heaven and Hell’ and DDB Singapore’s ‘Cityscape/Terrain’ for Life Cycle Bicycle respectively. The pair dominated Press/ Print Agencies the category but in reverse order.

Projector Tokyo was the only agency from Asia to appear in the Top Digital Campaigns ranking with ‘Museum of Me’. Japanese shops took the first and last spots in the Top Digital Agencies ranking – PARTY Tokyo and Hakuhodo Tokyo respectively.

Colenso’s Nick Worthington came second to BBDO colleague David Lubars as Top Chief Creative Officers/ECDs, with DDB Singapore’s Neil Johnson and Joji Jacobs tied in 6th place. JWT Shanghai had two talents, Danny Li (2nd) and Haoxi Lv (3rd), among Top Art Directors as did DDB Singapore with Thomas Yang (4th) and Chris Soh (6th) and Colenso with James Ticker and Jae Morrison tied in 5th.

Asia Pacific talent dominated the Top Copywriters ranking – Colenso’s Levi Slavin (1st) and Y&R Malaysia’s Andrea Yap, Boone Wong and Azeril Johari tied at 2nd.

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adobo exhibit: Budjette Tan

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aDOBO EXHIBIT

Armand Serrano

From aspiring engineer to animation veteran, this UST graduate is entertaining the world, one drawing at a time.

Interview Mikhail Lecaros Photos and artwork courtesy of the artist

Armand Serrano’s parents didn’t want him going into a career in the arts, insisting he enroll in a course that would guarantee him a “real job” later in life.

To some degree, Seranno complied. In college, he was your average civil engineering student, albeit one with a decidedlynonconformist streak. Looking back, with his long hair dyed red getting him ejected from his school’s ROTC program and guitar duties in his rock band, there was little to suggest that the young man would go on to play a role in crafting some of the most influential – and successful – big budget animated films of the next two decades.

Serrano’s path to what would become his career began a few years later, when the then-fresh graduate (who had attempted and rejected a life in civil engineering) submitted an assorted collection of sketches and doodles to Fil-Cartoons. Located on Pioneer Ave. in Mandaluyong, the company was legendary in Southeast Asian creative circles for providing the backbone of a majority of Hanna Barbera’s animated output.

Despite his lack of formal training – animation programs, much less creative trade schools, in this part of the world were years off – Fil-Cartoons recruiters saw potential in Serrano, admitting him into a rigorous monthslong program where aspiring animators were given a chance to fulfill their animated dreams.

As the months wore on and Serrano showed a natural ability for his chosen field,

it wasn’t long before Serrano was officially hired to begin working on the exploits of characters conceived half a world away.

“It was fun!” says Serrano of those early days, who knew, even then, the enormous import of the legacies he was helping to create.

After all, what kid then (or now) wasn’t at least partially familiar with names like Johnny Quest, Captain Planet, Tom and Jerry (kids), (young) Robin Hood or (Yo) Yogi Bear?

If he was a kid in a candy store at FilCartoons, the assignments received by Serrano during his later move to Philippine Animation Studio boasted aesthetics that reflected the growing maturity of his work. Talking animals and slapstick antics were now replaced by the likes of the (relatively) more realistic X-Men (in their landmark early 90’s cartoon), Fantastic Four and Biker Mice From Mars.

In 1996, Serrano and his family migrated to the United States, where the young creative enrolled in feature animation training classes to augment his TV experience. Before long, Serrano found work doing animation for CD-ROM games for game developer 7th Level. Soon after, Serrano joined Walt Disney Feature Animation Studios in Florida, which kickstarted his feature animation career. While at Disney, Serrano would rack up credits on films like Mulan, Brother Bear and Lilo & Stitch.

In 2004, with the closure of Walt Disney Animation Studios’ Florida facility, Serrano was one of 200 professional artists suddenly looking for work. Eventually, Serrano would sign up with the fledgling animation department of Sony Pictures, which was all too happy to snap up the talent.

“If I signed up with Dreamworks or Blue Sky, I would have been one of the guys, a face in the crowd. At Sony, since it was new, I had a chance to build something for myself” said Serrano, when asked by adobo about his decision to sign up with a then-unproven outfit.

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This Page 01 Surf’s Up concept sketch 02 Concept art for Cloudy

with a Chance of Meatballs 03 With Ron Clements and John Musker, directors of Aladdin and Princess and the Frog, during a recent visit to their studio Opposite Page Artwork from Hotel Transylvania

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Over the next nine years, Serrano would rethink the work model imposed on him

by Disney, which traditionally employed huge teams. Learning to work with leaner crews and a gung-ho attitude borne of imagination unbound, Serrano and his cohorts would go on to produce Surf’s Up, Cloudy with a Chance of Meatballs, Arthur Christmas and, most recently, Hotel Transylvania and Escape from Planet Earth.

Aside from his work in feature animation, Serrano enjoys a thriving freelance practice designing for television commercials and video game projects, much of which he is able to do from his studio at home.“With the internet, I can work pretty much anywhere, and only really go to the studio if we have a meeting, but even those we can do over Skype.” Over the convenience of telecommuting, though, Serrano says that working from home has the added benefit

of enabling him to spend more time with his family.

Ever-ready to share his experiences and expertise, Serrano is also active in training the next generation of animation practitioners, regularly lecturing and giving talks at creative institutions and workshops around the world, not the least of which were the recently-concluded Graphika Manila and Animahenasyon seminars in his native Philippines.

With more than two decades’ experience under his belt and a resume that reads like a list of family film greatest hits, Serrano is well on the way to securing a place in the annals of animated history.

While the rebellious, flame haired youth of yesteryear may be long gone – long since replaced by a a consummate professional and dedicated family man – Serrano

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has lost none of the sense of wonder that led him to submit his drawings to Fil-Cartoons all those years ago.

“I still enjoy it, I still love working on the visual development side,” laughed Serrano when asked about his career longevity. “But I don’t see myself directing a film, it would take too much time away from my family.”

The real secret to achieving a career any creative would be happy to call his own, shared Serrano, is to “Have faith. And keep learning. Every day, I’m learning.”

Coming from a failed civil engineer whose subsequent work has entertained millions the world over, that’s pretty sound advice.

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Graphika Manila’s speaker lineup inspired and exhorted attendees on the importance of passion and play when it comes to design

Fueling Creativity

Reported by Emarrah Sarreal

Benjamin Seide

Koto & Shin

VFX Supervisor Pixomondo

With the advent of designer toys in the early 1990s, it wasn’t unusual to see the Star Wars-collecting kids of yesteryear – especially those in the creative industry – using them to adorn their desks for a combination of inspiration and nostalgia.

Of course, it wasn’t long before new faces joined the ranks of the classic characters.

One such face was that of To-Fu, more properly known as “To-Fu Oyako”. Designed by Devilrobots’ Shinishiro Kintai, To-Fu grew from being just another designer toy to a national, even international, sensation.

Cute with a touch of evil is exactly how DevilRobots wanted To-Fu to be. A graphic designer in an advertising agency in Tokyo, Kintai created To-Fu as his entry in a character design competition, designed and created on his company Mac. In coming up with the the rectangular-headed, spacesuitwearing, To-Fu, Kintai knew he wanted to create a character that was simple yet would have a strong impact. What really set To-Fu apart from other toys, then and now, was his worried expression.

As the character grew in popularity, To-Fu could be seen everywhere, from Legos, shirts, stationery, soft dolls and even installation art in a popular mall. Over time, the line was expanded to include a mother-and-son tandem, and To-Fu versions of other characters began popping up, such as Hello Kitty and Spongebob Squarepants.

Photo devilrobots.com.hk

“You have to do every project with passion,” said Pixomondo VFX Supervisor Benjamine Seide to Graphika 2013 attendees. If Seide’s name wasn’t familiar to the audience, his works certainly were, among the latest of which was Martin Scorcese’s 2011 Oscar-winner, Hugo (pictured). For that film, Seide worked closely with the famed director, along with his team of concept artists, modelers and animators.

During his presentation, Seide walked attendees through how the production of a well-designed feature film takes time, an insane amount of research and lots of references, an eye for detail and knowing how to manage expectations. These factors helped make Hugo more than just the Oscar success it is, but also a film to remember.

“Know your limits, set yourself milestones and aim to be early.” The first two items are important in keeping sane mid-production. As for the last part, he said, “It’s always fulfilling to be early.” This way, expectations are managed well.

Although the study of visual effects can be learned in film school, Seide said, one can still pick up a lot on the job. “Observe and copy” is one lesson that has stuck with him since he first started as a Flame artist, working mostly on commercials.

Of course, the most important piece of advice would prove to be the most meaningful: “Never stop improving.”

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Jessica Walsh “Play with rules” is Jessica Walsh’s formula for producing the best designs. Although a full-on advocate for play, the former Computer Arts’ “Top Rising Star in Design”, Art Director’s Club “Young Gun” and Print Magazine’s “New Visual Artist” was quick to clarify that, “having limitations makes my work better.”

The multi-awarded New York-based designer, art director and illustrator developed the attitude of work and play in her childhood; at an age when young girls were busy going to slumber parties, Walsh spent her nights making a website for her Neopet. In Walsh’s world, the concepts of play and work blurred, developing in her an outlook based on the idea that the quality of one’s output was tantamount to the quality of one’s play, a balance that is important to make her feel creative and alive.

Walsh’s creations reflect the blissfulness and lightheartedness of play, ranging from the simple to the out-of-thisworld, such as a cover for Print Magazine’s anniversary depicting four people toasting champagne glasses filled with CMYK color prints. Although the shot took numerous tries, several broken champagne glasses and one bloody finger, Walsh described it as one of the most enjoyable of her career.

In her present company, Sagmeister & Walsh, the concept of play is upheld. The small design studio, which consists of only six people, as per Walsh’s belief that this allows them to “be choosier with our clients and choose projects we’re passionate about.”

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Benja Harney Paper Engineer Paperform Where other people see a limited medium when looking at a piece of paper, self-taught paper engineer Benja Harney sees infinite possibilities. Strong yet delicate, complex yet simple, it was paper’s inherent contradictions that inspired Harney to set up a shop, Paperform, dedicated to his chosen medium.

Since 2007, Harney has made a name for himself creating high-end pop-up books and professional paper construction for everything from advertising and editorial illustration to fashion, packaging, and even fine art.

Indeed, Harney’s portfolio contains a diverse set of clients and projects, including Christmas window displays for Hermes and a Harper Bazaar pop-up book.

A stand out among these projects is the one for international singing sensation Kylie Minogue, a collector’s edition cd/book, The Goddess Edition (pictured), often described as “the most divine Kylie’s collector item produced”. For the project, Harney recreated (with paper) some of the most dazzling moments in Minogue’s 2011 “Aphrodite Les Folies Tour” world tour. The finished work, well-received by the performer’s fans, is a study in meticulousness, a result of handcrafting genius and paper know-how.

Paper may be an old, tired medium to some, but Harney, and many other “paper engineers” in the making will not let up any time soon, finding ways to refresh what could have merely been flat images on a page.

Photo paperform.wordpress.com/

Designer, Art Director, Illustrator & Partner Sagmeister & Walsh

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Armand Serrano Visual development Sony Pictures / now with Disney

Photo armandserrano.blogspot.com

In a speaker lineup dominated by foreign talent, University of Santo Tomas graduate Armand Serrano received one of Graphika 2013’s biggest ovations when he took to the stage. Formerly of Hanna-Barbera’s Fil-Cartoons and Walt Disney Feature Animation, Serrano currently makes his living in California working for one of the biggest and busiest studios in the world, Sony Pictures Animation.

In charge of animation and visual development, Serrano has worked on worldwide hits including Mulan, Tarzan, Hotel Transylvania and Cloudy with a Chance of Meatballs.

The challenge of visual development is in figuring out to how make something look fresh and interesting, Serrano said. He went on to share that inspiration could come from the unlikeliest of places, be it photos found on the internet or sketches and concepts from projects long-shelved.

For more about Serrano, his work and inspirations, turn to page 62.

James White Artist, designer and CEO Signalnoise Too much mechanical agency work makes a designer dull.

Such was the realization of James White, who made the difficult decision, early in his career, to “do what you love and the money will follow”.

The one-man crew behind Signalnoise abhorred the “I’m-too-busy” syndrome and began taking on personal projects, including a well-received tribute to Apple founder Steve Jobs that made the inside-front cover of Newseek in 2011. Taking the classic happy Mac ad in the early 1980s, he created the sad Mac to mourn the passing of the marketing genius.

“I’m a big believer in recycling vectors,” White said. Indeed, this fixation with vectors provided him a good foundation for his creations. A memorable product of his almost-obsessive study of geometric patterns paved the way for a 1980s-inspired alternate poster for 2011 movie Drive.

White doesn’t wait for clients to come before getting down to work, citing the ubiquitiousness of social media as taking much of the effort out of looking for clients. “You don’t need clients. Create your best work for a client you want to work for.”

However, White warns, “Choose the ones that work for you and work wisely. Pick your battles.”

And at the end of the day, it all boils down to: “Do what you love. Be fearless. Be a renegade.”

Ryan Honey There are no set rules for a streamlined creative process. One must go through the journey, though sometimes tumultuous.

A project for Good Books, an online bookseller that gives all its profits to Oxfam, displays the depth and range of design Buck does. Called ‘Metamorphosis’, the video tells the story of the frustration Thompson went through overthinking where to buy a copy of Franz Kafka’s book of the same title. The output was laden with squiggly lines and images that could rival any emotion in turmoil. If Hunter S. Thompson was excessive and extravagant with word use, Honey and the Buck team were the same with this project. The whole video wasn’t created in 3D, as most people would assume. According to Honey, the only morphing animation that was created in 3D was the book to flowers transition, with the rest pencil tested and finished in Flash/Photoshop/AE. Another project that can only be distinctly done by Honey and company is the Happy F5 Show, star-billed by two puppets named Sir Basil Myrtle Willoughby and Noodles. One can see Buck’s design stamp all-throughout the show, all the way through the credits, which is replete with puppets, peacocks and robots, severed goat heads and happy face avatars, banjos, turntables, a laser harp and countless perspectives on the creative process. To say that Honey loves the creative process is an understatement; his projects show the creative process itself. One of the things that keeps Honey going is the challenge that every project presents. And once again, passion found its way back to the stage; he credited passion projects for most of the Buck’s best work.

Photo truelala.net

Photo blog.signalnoise.com

Creative Director and Partner Buck

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design showcase

Design Showcase Olly Moss teases with an Oscar poster, while Marc Jacobs creates a must-have Diet Coke can

Bintang Pilsener Innovation Kitchen Innovation Kitchen created a limited edition can and secondary packaging for Indonesia’s leading beer brand, Bintang, that straddled the festive seasons, from Christmas to New Year and Chinese New Year, for its Pilsener range. Featuring a starburst, the design conveyed celebration and excitement without being specific to any particular festival.

McDonald’s 2013 QR Packaging McDonald’s has revamped its packaging design for carry-out bags and fountain beverage cups, embedding QR codes and little stories, including nutrition facts, in its colorful new look. The fastfood giant is clearly getting with the program in terms of connecting with smartphone-toting customers who can now scan the QR codes for additional information on the brand’s website that they can then share with their social networks. The new packaging launched in the US in late January and will debut in the rest of the world in 2013.

Ippon Matsu Beer Kota Kobayashi New York designer Kota Kobayashi went minimalist with packaging for Ippon Matsu beer, which was brewed with the purpose of spreading the message of charity for those living in the aftermath of the 2011 Japanese tsunami. Kobayashi took his inspiration from the lone pine tree, from among a forest of 70,000 that lined the shore of Rikuzentakata for decades, which survived the disaster. The front label comprises three upward facing triangles, representing the wish for progress towards a brighter future. A scroll-like, handwritten label seals the top with the story of Ippon Matsu written on the inside. All profits are donated to the city’s reconstruction efforts.

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Beck’s Ardagh Group Environmental concerns were a factor for the Ardagh Group, which reduced its Becks and Beck’s Blue bottles from 185gms to 165gms to ensure its iconic green bottles were even greener.

The beverage company used advanced analytical design tools to reduce the weight of its bottles by 20gms while ensuring the container retained its original strength, outline bottle shape and neck profile. As part of the change, a label panel was also incorporated in the bottle. Ardagh estimated that the 11% weight reduction on 130 million bottles would save 2,654 tonnes of glass, an amount equal to the weight of more than 200 double-decker buses and remove 1,940 tonnes of CO2 from the manufacturing process.

Doritos PepsiCo The brand has gone from local to global in its packaging, a nod to today’s market where it only takes a mouse click to connect consumers across the world. From 25 design variations, the PepsiCo brand has unified its look across 37 markets: An updated and bigger triangular logo in the Doritos name plus wider packaging with more real estate for a cleaner look.

85th Academy Awards Poster Olly Moss + Gallery 1988 British artist, graphic designer and illustrator Olly Moss in collaboration with Gallery 1988 recast the Oscar statuette as Best Picture winners for a fun poster that celebrates 85 years of the Academy Awards. The poster is a guess-the-movie tribute to decades of Oscar history – there’s Oscar in Deer Hunter mode for 1978, in a strait jacket and the terrifying mask that made Silence of the Lambs the 1991 winner, with ear skimming hair for 2007’s No Country for Old Men, and in a dhoti for 1982’s Ghandi.

Marc Jacobs adds fizz to Diet Coke can designs In his new gig, celebrated fashion designer Marc Jacobs has created whimsical designs for three limited edition cans to mark Diet Coke’s milestone 30th anniversary. The anniversary cans were unveiled soon after Jacobs teamed up with Diet Coke as its creative director in February, a collaboration that is a key part of the brand’s ‘Sparkling Together for 30 Years’ campaign to offer limited edition cans and other must-haves. The cans feature Jacobs’ whimsical vision of female empowerment with designs referencing iconic looks from three

March-April 2013

decades of the brand’s existence. A Broadwayinspired woman in a suit and top hat is on the 80s can, while the 90s can features Jacobs signature swallow motif and a woman in a trilby bustier top and stilettos. Drawing inspiration from his spring 2013 runway show, the 00s carries a sporty look with red polka dots, yellow and white stripes and colored heels. In true Jacobs fashion, the designer’s new gig was announced with a cheeky video ‘Marc Jacobs Photo Booth Break’, showing him having his own Diet Coke moment while shirtless.

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D&AD showcase CEO of arguably the toughest competition on the circuit, Tim Lindsay, looks back on Asia’s Pencil winners for D&AD’s milestone 50th year

01 Worms

Year 2005 Client Uni President Thailand Agency BBDO Bangkok TV & Cinema Advertising Summary Unif Green Tea made its mark on the D&AD awards in 2005 with a Yellow Pencil for this bonkers TV ad – a hungry baby worm and his dictatorial father climb to the top of the plant where the best leaves are, only to find the tea-picker has gotten there before them – resulting in a rather surreal stand-off.

Lindsay “I have it on good authority that this ad literally stopped the judges in their tracks… they watched this and were left open–mouthed as the reel moved on. It demonstrates the power that a bit of well–directed creative insanity can have.”

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02 Policeman

Year 2005 Client Thailand Yellow Pages Agency Creative Juice G1 TV & Cinema Advertising Summary Creative Juice G1 picked up a Yellow Pencil with this simply–shot ad: A kidnapper makes what will probably turn out to be the biggest mistake of his criminal career when he mistakenly calls the wrong person (a policeman and rifleenthusiast) to demand a ransom.

Lindsay “What’s great about this is the lack of complexity on the shoot. The execution is kept simple and there are no frills and, as a result, the idea really shines through. As a bonus, there is a great sense of comic timing; this one had the judges laughing out loud, even on a second and third viewing.”

03 Words Come Alive Year 2006 Client Penguin Books Malaysia Agency Y&R Malaysia Press Advertising

Summary A witty series of typographic posters which personify letters of the alphabet and punctuation marks and imagines the exchanges that might happen between them.

Lindsay “This playful use of typography is really appealing, especially in the context of press media. Again, its simplicity is part of its strength, but the design sensibility is also so on brand. You get the feeling the art director and the writer had a great time creating these and that enjoyment is very present on the page for the reader.”

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04 The Scream

Year 2006 Client Green House Organic Agency Y&R China Press Advertising Summary Green House Organic was a retailer pioneering the introduction of organically grown food. To create awareness of the potential danger of genetically modified vegetables, the campaign challenged consumers to re-evaluate the food they take for granted: What looks good outside, may not be the same inside.

Lindsay “A D&AD Award is about a good idea, brilliantly executed. The rigor of our judging is such that even getting In Book is a major achievement. This concept nails the idea in a simple, dramatic way. A good example of the power of art and copy.”

05 Trouble Maker Condoms

Year 2009 Client WPTT Contraceptive Agency Hantang Communications Group Packaging Design Summary A Yellow Pencil winner. WPTT wanted to create new packaging with visual impact. The objective was to emphasize the effectiveness of its products by indicating the painful consequences of having sex without a condom.

Lindsay “On the cusp of tasteless, but manages to really ram home the consequences of unprotected sex. It certainly makes you think twice.”

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06 Uniqlock

07 Don’t Leave

Summary A Black Pencil was awarded to this groundbreaking campaign. They designed a ‘clock widget’ that synchronized live action dance, music and a clock in order to showcase Uniqlo’s products.

Summary A Yellow Pencil winner. As part of the 20 Tips program, these online executions highlighted a simple tip about saving energy by not allowing the viewer to move past the current page before they actually took the step to save energy. They were then led to learn more at the WWF 20to20.org website.

Year 2008 Client Uniqlo Agency Projector Online Advertising

Lindsay “Integrated campaigns like this are only successful if they achieve scale, and they only achieve scale if the creative is truly brilliant. This is an early and rare example of a brand getting ‘viral’ right – by giving the customer something beautiful, fun and useful.”

Year 2008 Client WWF Agency Ogilvy Beijing Online Advertising

Lindsay “Socially focused campaigns and messaging are becoming the norm, not the exception. ‘Don’t Leave’ is a great example of an intervention that can make a small but significant difference. In 2012 D&AD launched the White Pencil to reward work that has a benefit to society.”

08 Shoes

09 Soap

Summary This poster for Blush Lingerie extolling the virtues of Wonderbra won a Yellow Pencil in 2003.

Summary This short movie is part of the launch campaign for a ‘love’ motel. The movie shows how well the motel’s appliances and services reflect human nature. ‘Soap’ shows the crooked story behind the scentless soap.

Year 2003 Client Blush Lingerie Agency Saatchi & Saatchi Singapore TV & Cinema Advertising

Lindsay “A funny thing happened when this was judged. A judge was looking at it trying to work out what was going on and suddenly he got it. He hustled a few of his fellow judges over to see if they could get it too. Before long there was a bit of a crowd – the poster seemed to have a viral effect... you can’t fault the cleverness of this ad and the complex story it manages to get across with just one image and a logo. If you treat your audience as intelligent people you might just get your work talked about.”

Year 2010 Client Wego Love Motel Agency Ogilvy & Mather Taiwan Branding

Lindsay “Branded content will only become more prevalent as advertisers increasingly seek ways to attract and retain eyeballs on the web. The secret is no secret: Good storytelling is the only way to do it. This eminently watchable short film deserves its Yellow Pencil.”

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10 Frontiers

Year 2007 Client Frontiers Magazine Agency Han Jiaying Design & Associates Graphic Design Summary A graphic execution for Frontier Magazine. Thousands of books piled up into one big sea; stacked like this they look like musical notes.

Lindsay “D&AD represents advertising and design in equal measure, and I truly believe excellence in one drives excellence in the other. This is a beautiful piece of art.’

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Interview by Mikhail Lecaros & Angel Guerrero Words by Mikhail Lecaros Photographer Mark Nicdao Photographer’s coordinator Francis Dayao Production designer Dindo Pangalangan, Elmer Pueblo, Zard Eguia and Che Katigbak of Adix Production Design Hair and make-up artist Ish Sison Art director Marlon Rivera Supervisor Mikhail Lecaros Coordinator Denise Galoyo Venue DPI XL Studios adobomagazine

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Whoever said that it’s good to be king obviously never met Matec Villanueva.

With the indomitable Publicis Manila CEO (and this publication) celebrating our seventh anniversary, adobo sits with Villanueva to learn how she stays on top of the game.

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MAT EC V I LLANUEV A

“Advertising is the biggest, best accident in my life.”

ADOBO You’re an avid golfer. Much like advertising, that’s traditionally been an old boy’s club. How did you assert yourself that you were someone to be taken seriously?

VILLANUEVA I kept working and working, and my bosses recognized the work, so I didn’t have to assert that much. When McCann asked me to join them, they asked how much I wanted for my salary, and I asked them, “How much do you think I’m worth?” I told them that there was a value there and, after some time, I would appreciate being rewarded for that. The same thing happened when I came back to Basic. I did not see my salary or what the package was until I signed the contract.

Same thing when I joined Publicis. They said, “Matec, would you take over?” I said, “Ok! I just have two requests, ‘Can you carry over my tenure, and, I want my EA,’” – my EA was at Jimenez then.

I just believe that…I don’t like getting ahead of myself. I’ll do what I do, and let my peers or my bosses give value to it, as it should be. It’s when I feel that my value isn’t appreciated, that’s when I would go. That’s how I always work things out.

ADOBO Did you always want to be in advertising?

VILLANUEVA No. It’s the biggest accident in my life. I actually gave a talk to Ateneo kids last week – they wanted me to talk about a career in advertising, and I told them it was the best accident that ever happened in my life.

ADOBO How was it an accident?

VILLANUEVA Because I never thought of it as a career. Because it was never on my radar. Because I found it while I was working

for a semi-government agency where Tony Mercado was doing a project with the agency and we met up and he said, “Do you want to work for me? I’m putting up this company,” so I said, “OK!” without really knowing what I was doing. So I joined. I learned. I enjoyed it! When it didn’t work out for being too ahead of its time – a typical Tony Mercado creation, he was such a visionary that some of the things he did were too soon for their time – he moved me to one of his other agencies. I learned, and when I was about to leave because I felt that I wasn’t growing anymore, he tapped me again and said, “Come, join Basic.”

So one thing led to another, and I was like, “Ha! May career pala doon?! (Ha! There’s a career there?!)” I always thought that advertising was for creative people! I never thought of it as what it became for me.

I’m a business major! I knew that I didn’t want to go into banking…

ADOBO Too much of a headache?

VILLANUEVA Too boring! Not really a headache, I enjoyed finance, I enjoyed marketing, but I didn’t know what I wanted.

I knew after college that I wanted to teach – but not as a career, and now I understand why it’s a vocation – so I was just looking and looking. I did a travel agency, I worked for the government…while waiting, I did my MBA, but when I did advertising, I never completed my MBA. I’m seven units and a thesis short, would you believe? And I always tell people that, “Not bad for someone who didn’t finish her MBA!” ADOBO How has the advertising business changed since you first started working in the industry?

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VILLANUEVA The kids. The new generation of practitioners have changed, both on the clients’ side and on the agency side. A lot has changed in the way clients and agencies work, but Marlon Rivera, the agency’s president and chief creative officer and I weren’t affected so much because we were weird to begin with, being brought up (in the industry) in a way wherein we concerned ourselves with the business of the clients. So it’s not so hard for us to dive in now; what was hard before was convincing the clients to let us in and be part of it! So there we were, trained to be pakialamero (meddlesome), and the clients would be, “Get out!” [laughs]. But it’s not like that so much anymore.

The kids now are very task-oriented, and they’re nowhere near as hungry (to succeed) as we were back then, partially because they have so many choices now. We were like savage dogs before! Back then, we had hopes of becoming a partner. Now, with international business being what it is, you kind of just work. But other things, getting into it, drive and ambition…I don’t think the kids who come in now even think about staying long in any one place. I mean, we have one of the lower turnovers around, but in the past year, it’s increased.

ADOBO How much of that has to do with the proliferation of instant gratification?

VILLANUEVA That has everything to do with it! And that’s something I try and teach my students (because I teach), back in college, we never went around asking, “How much do you think they pay in advertising?”

It was more, [looks panicked] “Is there a job?

Is it fun?” [laughs] Now, it’s all about how much money they’ll be making, when they’ll be promoted, when they can move on. In our time, we never asked. Bastos (rude), you’ll get it when you get it! It’s like being in school and asking, “How do I get top grades?” Excuse me? Don’t you want to be asking, “What do I get to learn?”

Another thing is, procurement has taken over marketing [laughs]. They’re always asking for growth, but more and more, they’re not willing to take the risk.

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ADOBO Are you talking about the bottom line?

VILLANUEVA It’s not just the bottom line, but between moving forward and standing still, a lot of the time, they would rather stand still. The thing is, it’s not so much about throwing in bigger money, it’s more about bigger trust that the big ideas will come in.

Next week, I’m giving a talk about “Branding Strategy on a Budget” [laughs]. It took me about two months to figure it out! But as usual, the way we always do it, we’ll try it and then say, this is the wrong question! The thing is, when it comes to strategy, the core of it has to be your ambition.

Determine that ambition, and we’ll determine your level of effort, called, “strategy”, and then we can determine the budget!

Things have changed. The question now isn’t anymore how to grow your existing business, but what other businesses we can move into.

But I still love the work, I still love the dynamic; the fascination never ends, and that’s what I love about this industry. I tell that to the kids, the fascination never ends, it only ends when the world ends and there’s no one left around to buy or listen to us [laughs]!

ADOBO So what’s the secret to longevity?

VILLANUEVA I partner up with the right people. Some consciously, some by fate. It just happens. Most of the time, I’d like to think I was lucky; When Tony Mercado and Minyong Ordoñez were at the height of their careers, I was there, watching and they said, “Come, I’ll teach you.” At the height of Emily Abrera, I had the chance to work with her and was again fortunate enough to learn. Before Mon J and Abby (Jimenez) finally did other things, I was fortunate to be there. All through these years, Marlon and I have always had this connection, since we met in the 80’s and I don’t want to call it strange, but no one would ever call us super best friends. We were evil! [laughs].

I always thought he was easy to work with, and he hates dumb people, so that’s another reason we got along. I knew he was good, and, consciously or otherwise, I like working with smart people, because it brings results. So we got along well, and when I went to McCann, and even when I got back, we always worked well together.

Some people don’t understand, so I always tell them we’re like a couple. If I’m angry, he shuts up. If he’s angry, I shut up. [laughs]. And the kids here can tell you, they’ve never heard us yell at each other. And that’s because we trust each other.

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MATE C VI LLANUEV A

“The fascination with advertising never ends, it only ends when the world ends and there’s no one left around to buy or listen to us.”

Some people might be panicking if they hear one of us doesn’t know what the other is doing, but then we say, “Chill. I know he can do it.”

Then, at some point, we talk and find out what the other’s up to. But we don’t need to constantly be consulting and updating each other.

ADOBO And what of when you disagree?

VILLANUEVA Oh, we discuss. And we muddle it through. That’s something we learned from the Mercados. We talk, we’ll sit and talk about it, get to lunch then continue talking about it and don’t get out of the room until it’s done. We try to convince each other, but we don’t fight.

ADOBO You’re like an old married couple that doesn’t go to bed angry.

VILLANUEVA So we’re not BFF’s, but workwise? Excellent. Before coming into Publicis seven years ago, I had dinner with him and told him I needed him. I was going to start in September and he told me he was leaving for New York in January! I said, “You can’t leave me, the only reason I accepted this job is because you’re the creative head! Stay, and I’ll let you go to all the fashion shows in the world [laughs] and do whatever side projects you like!

ADOBO How important are awards?

VILLANUEVA Well, we’ve always been very categorical about our point of view on awards.

Awards are nice to have, but we’re in the business of making money for clients, so first and foremost the material should be effective. If it’s effective, it’s creative, in that order. But to be creative first and go, “bahala na si Batman” (leave it to chance), is not acceptable. But there’s no such thing as effective and not creative, or it may be creative in a sense, but not be award-winning creative.

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And it’s actually paid off. Awards are nice, of course, and kids love it. It can motivate – because there are some kids who are made for it and some who are not – but it’s paid off in the sense that, in the minds of our potential business, our potential partners, there’s a clear positioning for us. We get calls, Nestlé continues to grow, etc. We think it’s a good positioning, one of the reasons we’ve been able to grow this big, so no regrets about that.

ADOBO Is it true that Publicis Manila is less about chasing new clients than it is about taking care and growing the ones it already has.

VILLANUEVA Yes, because we believe in giving service, but at the same time, not everyone deserves it. It’s not about being judgmental or whatever, but sometimes, if we have to turn someone away, it’s because the chemistry just isn’t there. There has to be a good fit between the agency and the client. You know it’s a day-to-day thing, why would I subject people to that pain?

ADOBO Are you referring to the would-be client or your people?

VILLANUEVA Both. But more for my people. I think at some point, you learn to discern…not to be a snob or anything, but it also comes down to what you’re capable of. I’ve had my share of Purgatory clients.

ADOBO How would you describe your management style?

VILLANUEVA I’m a mom, a mom who runs a tight ship. So I will be very caring, I will provide, if I can, I will dote, but I have expectations. I will feed you, whatever, but I don’t want the room messy, you know? I’m a no-nonsense mom.

Actually they call me…my moniker here is mom!

So that would be my style. I will constantly try to…another reason I don’t want to stop learning is because I know there will be days when they will come to me, and my greatest fear is that I will not be able to help. So I am constantly trying to learn, not to outdo them, not to compete, but primarily to be of value. If they no longer come to me for that… (shrugs) time to go!

ADOBO Or find something else to do?

VILLANUEVA Exactly! Next generation na! (It’s the next generation’s turn!) So that’s my “style”.

ADOBO Well, you seem to be quite a ways off from that.

VILLANUEVA Well, I’m not thinking about it, I just want to keep busy. I have very high expectations.

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GAVIN SI MPSO N

The man with the g o l d - p l at e d r e s u m e

Gavin Simpson Former bartender turned adman brings home the gold, whether in Manila or Malaysia Interview Angel Guerrero

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Gavin Simpson

Chief Creative Officer Ogilvy & Mather Malaysia

B

efore he became a sought-after creative, Gavin Simpson spent five years working behind a bar, a place that has always been dear to the heart of the advertising community. Bars are after all, the go-to place to celebrate agency highs or wallow in their lows. Even to find inspiration. Or so it’s been said.

So it was no big mystery that the stint, which included two years during college, eventually led Malaysia-born Simpson to his career of choice: Advertising. Ad people, he found, were no different from the barfly nursing a glass of whisky till the early hours. “They smelled bad, were incoherent most of the time and frequently broke. And that’s just the women,” Simpson joked. What they did have though was a skill to tell stories and jokes, a talent that separates advertising’s best from the rest of the field.

The parallels and “being told it pays well” led Simpson to ditch bar tending for advertising, a career perhaps appropriate for someone who says he is “fruit and nuts rather than just bland vanilla”. Simpson is of course speaking of the dizzying mix of Scottish, Dutch, French, Indian and Ceylonese blood coursing through his veins.

But his early advertising days were more mundane than memorable.

There was a lot of licking of stamps and stuffing envelopes during his first six years of agency life at Ogilvy & Mather Direct, where he started as junior art director cum visualizer in 1991.

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01 This Page 01 ‘Wrestler’, Pictionary 02 ‘Directions’, Land Rover 03 ‘Whale’, Lego 04 Winning at a young age: 3rd prize in a neighborhood art contest Opposite Page 01 Simpson’s big and bold Unilever work in Manila, ‘Pore’, Pond’s 02 Family guy: With his wife Gladys and kids, Megan and Luke 03

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Seven years later, he switched to mainstream advertising at Naga DDB and has never looked back. Simpson returned to Ogilvy in 2000 and later joined Y&R Malaysia before packing up for a series of overseas stints that included Leo Burnett Kreasindo in Indonesia. By 2005, he was back at what would prove his longest run at Ogilvy, relocating first to Manila and, later, Hong Kong as executive creative director before heading home in 2010 as chief creative officer of the Malaysian office. “In total, I have spent 15 years with Ogilvy.

I like their brand, their bravery and their style.”

Whether at home or overseas, Simpson has been a force on the new business and awards front, a performance he credits to nature and nurture, hard work and lots of luck. “I feel creativity is like a muscle, but you need to nurture it. The more you exercise it, the stronger it gets.”

It helps that his better half, Gladys, also came from the industry and understands the demands of the business. “I do occasionally share some ideas with her. If she rejects it, I don’t talk to her for a couple of days,” he laughs.

Jokes aside, the Hong Kong office outgunned pitch rivals for Shangri-La Hotels & Resorts’ prized global account, the Mass Transit Railway and a piece of business from New World Development under Simpson’s creative leadership.

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Malaysia too has delivered wins with Malaysia Airlines and BMW, effectively erasing a start Simpson no doubt wishes to forget. “On my first week back, I walked straight into a pitch and we lost an account. Shortly after that, we lost another huge chunk of business. Our work wasn’t inspiring. We were ranked 33rd in the world among all Ogilvy & Mather Advertising offices.”

That is now history. In the last two years, Simpson has led the Malaysian team to triumph at D&AD, arguably one of the hardest shows to win on the festival circuit. He scored a Yellow Pencil for the Lego campaign in graphic design and a nomination for Pictionary’s ‘Quick Draw Wins’ in the press category plus two in-book honors in the 2012 show.

Other awards include a fistful of Gold and Silver Pencils at One Show, making the office the 3rd most awarded agency at the 2012 competition, and Cannes Lions for Pictionary plus other wins that propelled Kuala Lumpur to

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Leo Burnett’s ace

XX Lorem Ipsum Dolor XX

“It’s like Hotel California, you can check out anytime you like, but you can never leave.”

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second place as the network’s most awarded office.

Incidentally, Pictionary was the 4th Most Awarded Print Ad in the World in the Gunn 2012 Report, while Land Rover’s ‘Direction’, created when Simpson freelanced for Lowe Malaysia in mid-2000, delivered a Gold Lion and another Gunn honor as the 4th most awarded print ad in 2006.

“You need to become your own worst critic and tenacious enough to keep coming up with ads faster than the client can kill them,” he says.

In Manila, Simpson is best remembered for sparking Ogilvy’s creative renaissance. During two short years, he led the office to its 4As Creative Agency of the Year triumph in 2006 – an honor that had eluded the agency since 1995 – and in becoming the Creative Guild’s top-awarded agency in 2006 with nine Golds. “Beating David (Guerrero) and BBDO made it all the more sweeter,” Simpson recounts as one of many high points in Manila.

“In the office, it was about creating work that touched the humble Filipino on the streets and the executives in the office,” he said of his mandate to improve the creative product.

To do so, he had to get the whole agency behind the work and the type of work the office wanted to do. “Tina (Coscolluela, then group managing director), Bunny (Aguilar, then client service director) and Tish (Valles, then planning director) were very supportive. Even our head of finance, Letty (Matias, now the group’s chief operating officer), was excited about the work and became one of our strongest allies. You need these sort of great people around you to support great work.

“But it wasn’t all smooth sailing. I think trust needs to be established in our office first before our clients can ever start believing.

“Clients had their usual doubts in the beginning. But we believed in the work and never gave up. Our ‘can do’ and ‘why not’ attitude has always driven us. Soon after, clients started trusting us. And we made sure we respected that trust in us.”

Trust engendered client support for work such as Pond’s Anti-Bacterial Facial Scrub, one that Simpson is particularly proud of. “It was big, bold and, best of all, it was for Unilever,” he said of what was an unconventional billboard campaign for a traditional advertiser. The 2007 work featured a larger-than-life pore being scrubbed clean, initially by a man at the campaign’s unveiling, and later by a mannequin.

It wasn’t all work in Manila though. The country’s outstanding marine environment tempted Simpson, who nearly drowned as a kid, to get his diving license, which turned into another high point of his stay here.

His low point? “It was leaving the Ogilvy Manila office and the people there.” Putting it a more lyrically, he says: “It’s like Hotel California, you can check out anytime you like, but you can never leave.”

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MI ND TWO OF A MIND

Two of

Thy Womb, a moving tale of a childless midwife, paired two gifted creative minds – director Brillante Mendoza and Melvin Mangada, who has his name on the door at TBWA SMP. Their shared passion to tell authentic Philippine stories shone through in this searing drama that won the hearts of overseas audiences.

ADOBO Someone once described the process of filmmaking as being as painful as childbirth. Now that you’ve gotten one out (Thy Womb), do you see yourself taking on another?

MANGADA Brillante is the mother of the film, he experienced the childbirth. I think I’m just the godparent (laughs). I think filmmaking is exciting, but it would really depend on the material. It would depend on the people behind the camera.

In our profession, in advertising, we’re now moving into short films shown online or in limited release. Future filmmaking would be exciting, but it would depend on so many things.

ADOBO The last time we talked, Thy Womb hadn’t yet opened in the Philippines. Despite garnering great notices and a healthy share of awards abroad, the film didn’t quite crack the box office over here. What are your thoughts now that the Metro Manila Film Festival is all said and done?

MENDOZA Well, for me, at the end of the day, we achieved something. I believe that everything we went through (to make the film) was worth the effort. The most important thing was, there was the film, and we had the right venue,

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I think, with the venue being the MMFF for the Filipino audience. With the festival being (based on the idea of) all Filipino films showing, on our part, we did everything that we could. On the part of the audience, we could only do so much. On the part of myself, the director, and Melvin’s (producer) side, we complied with all the requirements and I still believe it was the right thing to do, because we knew a lot of people would have the chance to see the film.

It just so happened that not too many people saw our film, and there wasn’t much we could do about it. It’s not like I’m going to say, “We shouldn’t have bothered entering,” because (from the start) there was never really any assurance…if you really want to make a box office hit, there’s a formula, and we weren’t doing the formula.

We’ve (my team and I) never really done formula movies.

But I’m happy with my achievement, and, like I’ve said, we did our best. And after that, I know the battlefield, and I’m still making films. By battlefield, I mean, if you’re going into a war, you have to know what you’re capable of. In this case, I knew from the start that it wasn’t really my audience, but I did my

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a mind Words Mikhail Lecaros Photography Joser Dumbrique

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part to try and reach them in my own little way.

MANGADA It wasn’t really a surprise that Thy Womb didn’t fare well at the box office. In fact, I don’t know if I mentioned this before, but when Direk and I were discussing whether or not to enter the film in the MMFF, we had no choice but to say yes because we felt it was the best venue to reach a wide audience. If we had just gone for a regular run, it wouldn’t have gathered as much attention as it eventually did. The MMFF, with its huge machinery, was the best option. But we were also very aware, compared to the other films, historically, the other films had devolved to something that was very commercial. When I was a kid, I would never watch Tagalog films until the MMFF, but today it’s become very commercial, so we knew it wouldn’t fare as well as the others.

ADOBO And what of the news that some exhibitors were trying to remove Thy Womb from their screening schedules? How did you react to the outpouring of support on social networks and subsequent mainstream press coverage?

MANGADA Well, the support was very much appreciated, but I think..

ADOBO Did the support surprise you?

MANGADA No! (laughs) No, but wait, this is because, in Venice, we had 144 reviews… in Italy! So, from Venice alone, people were already posting and sharing the news online. We were not surprised, but I think a lot of it was fuelled, ironically by the mishaps or missteps of the organizers.

The independent will never be mainstream, and there’s no such thing as a crossover hit. Either you do a mainstream or you do an alternative.

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TWO OF A MI ND

ADOBO Are you referring to their initial rejection of Thy Womb for not meeting MMFF criteria, only to turn completely around when you guys drew raves in Venice?

MANGADA That’s one, but also, every step of the way, there was something wrong, something amiss. December 25 was the launch of all the films, it was opening day. As early as the the 26th, it became apparent that some of the films that were making less, and I’m not just talking about Thy Womb, were not going to be allowed even a week to be screened. On the 26th, we were pulled from five or six theaters; December 27th, another seven or eight. It’s crazy! Especially since we’re used to festivals where films have a regular run; even if the cinema is empty, the film will run because that’s how festivals operate.

ADOBO Describe the feelings you experienced on awards night, then, when you took home Best Actress (for Nora Aunor) and Best Director?

MENDOZA For awards night, the mere fact that we shook up the tradition, that was enough. For me, awards are always just a bonus. At the end of the day, it’s not the jury or the people who say, “You did a good job.” First and foremost, you have to make yourself happy. You have to ask yourself if you were able to achieve something with what you did. What did it do for me? Did it fulfill my objective? If you can answer those in a very honest way, everything else are just bonuses. I made my film.

The mere fact that I was able to complete it, there’s already amazing fulfillment in that. Everything we went through, all the hardship, all the thinking and planning, shooting, working with a superstar

like Nora Aunor, filming in Tawi Tawi, joining the festival in Venice, and everything the film achieved there. Those are more than enough.

What more could I ask for?

ADOBO When I interviewed you three years ago, Direk, for Kinatay, you seemed a lot angrier back then, you were very passionate about reaching a local audience. For better or worse, your films have always fared better abroad.

Have the intervening years mellowed you?

MENDOZA Not really. Actually, now, I’m more, I must say, now I know what I’m in for, and what I have to do. There’s still a resistance in me that never really went away, but I shouldn’t make it a problem. My realization is that you shouldn’t dwell on what you feel, you should (spend your energy) thinking on what to do about it. That was in 2009…after three years, now I know what I should be doing, and I’m doing it. Now I’m fulfilled with what I’m doing, and I’m trying to reach out (to a wider audience).

I learned who my audience was. If before, if I was going to war, it was kind of vague. But now, even if I know I might not win, I was able to learn strategy, and now I know how to pick my battles, and plan and who my target market should be. A mass audience is too wide a scope, you have to focus, find out who your audience is, and get to know them. So now I know my audience, and I cater to them.

ADOBO How has this realization affected your storytelling?

L to R Melvin Mangada, Lovi Poe, Nora Aunor, Brillante Mendoza, Mercedes Cabral and Larry Castillo Photo courtesy of Henry Burgos

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Source Thy Womb starring Ms. Nora Aunor Facebook page

This Page Brillante Mendoza directs multiawarded actress Nora Aunor on the set of Thy Womb

MENDOZA Basically, nothing much has changed. Of course, with every film you do, you learn, you mature. You make mistakes, and in your future films, you try and avoid them. Of course, that doesn’t mean that you perfect your filmmaking, you can perfect your film – no!

Everything is still a work–in–progress, there’s no such thing as a perfect film, and there’s no such thing as a perfect filmmaker. For me, everything is a work–in–progress; you can be a little more focused, maybe, a little more mature in outlook – and that’s important, that’s important to me – but in terms of storytelling, the stories that I tell, I’m not changing my style, because that’s the least of my concerns. First and foremost to me is the content. I focus more of my intent, my energy on the content. And then, the content, like I’ve always said, the content in itself will dictate the style of the film.

The problem is, we don’t have an audience (here) for alternative. We don’t have a developed audience. What’s happening now is sad, where everybody just goes to Cinemalaya because they’re mad at the mainstream. Now, why are they mad at the mainstream? What’s wrong with mainstream? Mainstream is just another form of

cinema – there are many ways of making films!

The independent will never be mainstream, and there’s no such thing as a crossover hit. Either you do a mainstream or you do an alternative.

ADOBO How do you define mainstream and alternative/independent?

MENDOZA When you say mainstream, you have to go back to the objective, and for the mainstream, that’s commercialism. You go into the mainstream because you want the audience to watch your film, so what are you going to do to get them there? You’ll go with the formula. Now, why is there a formula? Because it’s tried-andtested, that’s why it’s called formula! You’ll have a big name actor, he’ll promote your film. The story will be nothing new, just something people can easily relate to that neither they nor you will have to think about. Your only concern is selling tickets, and if you do that, you do good. That’s the mainstream and, because of the mainstream audience, you can do good with this kind of setup, this kind of objective. Now, if you’re an independent, don’t bother arguing with that objective. They want to make money, so they

March-April 2013

have this kind of setup. If you’re an independent and you want this kind of setup, good luck!

As an independent, you have to live up to your setup, where you may or may not make money.

You can hope and dream, sure, but it’s more likely that, if you’re (an independent) hoping to make money, you’re not going to get anywhere.

Even the mainstream with their formulas aren’t always assured of getting their money back, what more of a guarantee would you have, an independent, an alternative filmmaker?

(As an independent) you have an advocacy that’s clear. You want to tell stories. Don’t try to mix and attempt something that’s neither here nor there to try and appeal to everyone. No! That’s my perspective: If you’re an alternative, an independent, you have to be more about the story. As an independent filmmaker, you are an advocate, and in this case, you have to be focused on your advocacy, and that’s the story. There’s a lot of risk, yes, there is definitely more risk involved.

ADOBO What kind of stories do you like to tell?

MANGADA Very similar to Direk, I like stories that show truth in the Philippine context, in Philippine society. I once read his comparison of Hollywod films with the films he makes; there’s nothing wrong with blockbusters, I watch them every week, but I think what captures the fascination of the global audience are the unique and almost out-of-this-world, alien-like situations that happen here in the Philippines.

To them, poverty is something they don’t deal with anymore. They’ve already reached a level where art and self-actualization are important, while in the Philippines, we’re still struggling

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Breathtaking scenery and poignant images in Thy Womb

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The industry has evolved towards communication that engages.

You have to engage the consumer and the audience.

- Mangada people, kids in Tondo, it was so beautiful. But the story wasn’t there, but people were liking it because it really looked good. What was the point? What was his intention? Why was he showing these people in these conditions if he had nothing to say about them? That was poverty porn. He was just using them as aesthetic, he just wanted to satisfy his ego by using those people.

MANGADA (in conspiratorial tone) Off the record, what was the name of the movie?

for the basic things, like shelter, etc. They (foreigners) can’t imagine people living under bridges. They can’t imagine thousands of people being swept by a flood in the metropolis – it’s unheard of, it can’t happen. They can’t imagine the lives of people living on (houses built on) stilts in one of the poorest areas in the world.

Those are the stories that are exciting to tell, not just for those abroad, but to Filipinos, as well. I’ve heard so many comments from friends and relatives who’ve watched the film, and they didn’t know anything about Tawi-Tawi, and it was an eye-opener for them, culturally. You know it’s sad that it’s such a beautiful place, and yet, you have people who are impoverished.

MENDOZA (laughs) It’s irresponsible to show the state of poverty here just to exploit it. You show the poverty because you want to say something about it, you want to do something about it. In that film, the poor extras were incidental, while the story and main characters weren’t among the impoverished, they just happened to live near the impoverished.

But the film opens with beautiful shots of street kids. I tell stories about the poor because that’s the reality we live in here.

MANGADA You know, the population in the Philippines is 90-100 million. As an advertiser, I get the opportunity see all sorts of statistics and, sadly, we have to divide people into socioeconomic classes just to define the target markets. If you look at AB, it’s less than 3%. So we’re looking at 2-3 million people living very comfortably, and then you have 9-10% living as the broad middle class. Again, research companies divide these based on salary. D is borderline poverty, while E is poverty, and that’s roughly 60-70% of our population. You don’t need to imagine the lives most Filipinos live, and telling (stories about) that isn’t poverty porn.

ADOBO What then, is your reaction to those who accuse filmmakers such as yourselves in dabbling in so-called, “poverty porn”?

MENDOZA I can only speak for myself, but I always say it depends on how you depict poverty.

If you exploit the poor people and just want to feature them without telling their story or letting the audience learn about their situation, that is poverty porn. Let me give you an example: There was a Canadian who came to shoot in the Philippines and the shots were so nice, of poor

MENDOZA That’s our situation, these are our lives. What we do can only be considered poverty porn if the Philippines was rich and we were making a spectacle of the hardship. 70% of Filipinos live in these conditions, and I’m not saying we should always portray the Philippines as a poor country, but that’s the reality of the population, and those are the stories we should be telling, so how can I be accused of poverty porn?

MANGADA Whether you agree or not, who elected Erap, for example? You may agree with them

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ornot, but they have the power. Now, that same market voted for P Noy, that market that lives in poverty. That’s how it is; it’s reality, and there are so many stories that can be told about that. As a filmmaker, I think it’s the job of the filmmaker, his responsibility, to depict those conditions in the most truthful way. When that situation is exploited, then fine, we can call that poverty porn.

ADOBO As filmmakers who have both had your share of advertising experience, how, in your experience, do the two fields intersect, if at all?

MANGADA The industry has evolved towards communication that engages. You have to engage the consumer and the audience. I’ve seen clients evolve from just pushing products to also pushing a value to get the interest of the audience. At this point, because of the internet and screens everywhere, the audience, as compared to before when they had no choice but to consume whatever you threw at them, now they can switch off. They can change the channel, ignore your work. A Twitter campaign, for example, can be so informative, but if it’s boring, no one will care. That’s how powerful the audience is now.

So there’s that similarity between advertising and filmmaking, because at the end of the day, you want to engage an audience. Now, the difference is, for the stories that I want to tell, filmmaking is more personal in what I want to convey to the audience, but of course, audiences still have that choice to switch off.

ADOBO Are there days where you wish you had big budgets to play with?

MENDOZA I already have big enough budgets, as far as I’m concerned. I mean, what are the big budgets for? To get a huge crew? To get big actors? To satisfy my ego? I have Nora Aunor, I had Isabel Lopez (in Kinatay), and I’m very happy. I don’t need a huge crew. I was filming the other day and there were only 10 people present! I’m fulfilled, I don’t need a hundred people standing around doing nothing. I would rather have 10 good people around me, who are all working, who are all passionate, I get high on it. So, for me, wishing for a bigger budget is not really a great concern.

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On The Move James Dalusong switched to managing video ad production; overseeing campaign planning, design, technology, delivery, monitoring and reporting, trends, and financials, which then led me to working for an ad network.

What, in your opinion, helped you win the promotion? My understanding of digital from different perspectives: programming, internet marketing, e-commerce, mobile video, etc.

What additional responsibilities do you have in the new role? To advocate the digital medium as one of the best ways to communicate a message and to reach out to digital agencies so that they rest easy knowing that ADG understands the industry very well and exists to support them in the best way.

NEW ROLE Promoted to managing director of ad network Ambient Digital Group PREVIOUS ROLE Publishing director at Ambient Digital Group When did you know you wanted to work in advertising? My years spent as an IT project manager exposed me to a lot of online display advertising, video and content marketing, affiliate marketing and social media. With the advent of smartphones I realized that there is great value in mobile video advertising, so I

Haines calls it at day at Cheil

Is there anything in the new role that will keep you up at night? Nothing about the new role worries me. But if it’s because of additional work, I don’t mind.

What excites you about the new role?

Pushing things forward excites me, also being at the forefront of an advertising revolution in the Philippines.

What have you recently learned in advertising that you wished you had learned years ago?

I wish I joined the local advertising industry earlier.

MANILA Harrison Communications has expanded executive creative director Alex Arellano’s role to include presidential responsibilities to drive the agency to the next stage of its reinvention.

In his new role, Arellano will steer the agency onto new ground with his deep understanding of the Harrison business which he helped grow in his six years as ECD. His remit includes driving current client partnerships and to seamlessly integrate innovation into business solutions.

With this mandate, Harrison is expected to spearhead innovations in the agency’s business concepts and develop new products and services to bring clients’ brands to new frontiers.

Ogilvy fills Beijing creative role

Sarthou quits Ipsos for Nielsen

BEIJING Juggi Ramakrishnan has joined Ogilvy & Mather Advertising as executive creative director of its Beijing office, taking over from Bill Chan who left in May last year. The former ECD of BBDO Proximity Singapore is no stranger to the WPP network. Since 2010, he has been deputy regional ECD of Ogilvy’s advertising unit’s Asia Pacific operations. He has been tasked with leading production of creative that is rich in local flavor for the Chinese market as it is internationally accessible and to nurture local creative talent to produce high-caliber work.

MANILA Carole Sarthou has stepped down as Ipsos Philippines managing director to join Nielsen Philippines as executive director for media research.

Sarthou, who was with Synovate for more than a decade including the period after it was acquired by Ipsos, will be working closely with clients to offer insights and develop the company’s media business.

SEOUL Cheil Worldwide chief strategy officer Bruce Haines will leave the agency on April 14, five years after joining Cheil to transform it into a global network with 54 offices in 29 markets and one that was not tied to Samsung, the Korean conglomerate.

Haines previously worked with numerous multinational agencies and had been group chief executive of Leo Burnett London prior to joining Cheil. He managed D’Arcy’s and Burnett’s merger in the UK in that time. “Cheil Worldwide truly appreciates the significant part he has played in making the agency the successful company that it is today,” said president and CEO Dai-ki Lim.

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Harrison expands ECD’s job

Ambient beefs up with Carreon MANILA Maxus Philippines former head of digital Aaron Carreon has joined Ambient Digital Group in the new role of sales director — Philippines. He will work with the office’s newly appointed managing director James Dalusong to expand the local presence of the digital marketing services provider, which offers ad network, search and social marketing capabilities. Carreon’s appointment comes as the group prepares for new product launches this year.

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MOVERS XM FIND Ng Pei Pei, a creative veteran with WPP agencies, has joined XM Asia as creative director to boost its product across its digital, user experience and social media offerings.

She has 20 years of creative experience under her belt having spent 12 years across a range of Ogilvy & Mather companies, including Ogilvy Advertising and OgilvyOne, JWT in Singapore and Bangkok, Saatchi & Saatchi and TBWA.

Kinetic promotes Parker

New role for BBDO’s Wilson

LONDON Kinetic Worldwide, one of the largest out-ofhome media companies, has promoted Nick Parker to a newly-created role, chief investment officer – global.

Parker’s experience with the investment workings of the OOH media industry was described as invaluable in asserting a new level of influence for the agency in driving maximum value for its clients on a global scale.

SINGAPORE BBDO Asia has tailor-made a new role for Andy Wilson (pictured), promoting him to head of strategy for both BBDO and Proximity Asia.

In addition to assuming the new responsibilities, Wilson will continue his current duties, chairing BBDO and Proximity’s Asia Planning Council, as well as leading the 10-strong planning department of the Singapore office, BBDO Asia’s Hub. Meanwhile, Proximity’s Richard Fraser’s role as regional managing director has been expanded to include the Middle East and Africa. The promotion comes as Fraser assumes APCEMA regional client leadership for one of Proximity’s biggest clients, Visa.

Cheil taps two ex-Nokia hires

Senior boost at Wunderman SINGAPORE In a phase of rapid growth, Wunderman Singapore and Comwerks Interactive have promoted Krish Sreehadran (pictured) and Thomas Wilks to roles that will cut across both organizations: The former assumes the newly-created role of operations director while the latter moves up as head of technology.

SEOUL In an effort to further strengthen brand experience online and offline, Cheil Worldwide has added new team members who have worked for Samsung rival Nokia: Howell Wong (pictured) as new regional head of digital and Jordan Waid as ECD at Mind Design Laboratory.

Wong is known for his innovative approaches which helped Nokia penetrate the youth market and re-capture some of its market share in key territories while Waid has worked on Nokia campaigns as a creative director at Inferno, London.

M&C CHIEF M&C Saatchi Australia has appointed James Leggett as CEO with the task of leading the agency’s growth.

Leggett moves to Australia from the UK where he was Ogilvy & Mather’s managing director. Under his leadership, the creative shop experienced double–digit year-on-year grpwth while gaining creative acclaim, winning more Cannes Lions in 2012 than in the past 20 years.

INNOVATION DRIVER Miguel AndresClavera has joined BBH Asia Pacific in Singapore as creative technology and digital innovation director as the agency ramps up its digital offering. He was until recently head of JWT London’s Innovation Lab. Andres-Clavera’s expertise lies in using technology to create innovative campaigns and storytelling within the branded entertainment landscape that includes gaming, mobile and social media.

LOWE PICKS MD Lowe Thailand has appointed renowned Dan Zonmani (pictured) as its new managing director. He will be reporting to CEO Jeremy Hine. Zonmani has worked across countless local and international brands, including Coca-Cola, PepsiCo, Daimler Chrysler and Adidas.

UNILEVER LEAD PHD Singapore has assigned the global head of content and digital strategy duties on the Unilver global communications planning account to John Gamvros. The appointment comes after PHD scooped Unilever’s global communications planning account, which puts the agency in charge of over 90% of the multinational company’s products.

As part of a 10-member team set up to manage the business out of Singapore, Gamvros will serve as strategy lead for the personal care category, with a focus on branded content and digital.

SMG promotes Somanathan SINGAPORE Starcom MediaVestGroup (SMG) has promoted Ranganathan Somanathan to chief operating officer for Southeast Asia to spearhead the next phase of growth and development for the region.

The former VivaKi Malaysia CEO will focus on SMG’s agency brands, operations and divisions, which include Starcom, MediaVest, Spark Communications and LiquidThread, across six key Southeast Asian markets – Indonesia, Malaysia, the Philippines, Singapore, Thailand and Vietnam.

March-April 2013

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adobo CENTERFOLD

To the brim In an industry growing increasingly more specialized, JWT CEO Melissa Crucillo stands as proud testament to the benefits of curiosity and experience over compartmentalization. Her ability to don different industry hats (often to great music) is nigh legendary, her list of accomplishments, even more so.

Don’t believe us? Check her CV: Prior to assuming the JWT top post

in September of last year, Crucillo served for three years as managing director of OgilvyOne, itself a logical extension of her previous roles as Southeast Asia Category Business Lead and, earlier still, Country Marketing Manager for Nike in the Philippines. And this is before one takes into account her stints with Levi’s Philippines, BBDO and Ace Saatchi and Saatchi.

“It’s not about discontent,” Crucillo told adobo Magazine. “But for me, I always have to tell myself, ‘you can’t get bored here’. It’s about curiosity; the anticipation of new challenges.

And that’s what drives me.”

While Melissa Crucillo may have mastered the art of changing industry hats, it is her ability to excel with each change that makes her someone we would gladly doth ours to.

Photographer Adrian Gonzales Photographer’s assistant Patrick Velasco Hair and make-up Ish Sison Art Direction Kimmy De Leon and Joe Dy, JWT Coordinator Denise Galoyo Supervisor Mikhail Lecaros Venue Café Ysabel Hats and fascinators Hat Momma; Bonne; Don Cristobal, Topshop Dress Miss Selfridge

Melissa Crucillo Chief Executive Officer JWT Manila

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Shifting Gears Words Sharon Desker Shaw

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MRM Worldwide’s shift from direct to digital marketing agency has been more revolution than evolution in a corner of Asia Pacific Over the past two-and-a-half years, the Philippine outpost of McCann Worldgroup’s relationship marketing arm has been reinvented under managing director Donald Lim, who is also the local Worldgroup’s chief innovation officer, and creative head Budjette Tan, winning the shop widespread recognition along the way.

It also blazed the trail for MRM’s other offices in Asia to make the switch.

The revolution made sense in the Philippines. The country has next to no history of traditional direct mailers. What it does have though is a considerable appetite for digital engagement, one borne out by social media and other internet-based statistics.

Lim had also come to the shop with zero experience of traditional CRM. He had previously worked as a marketer (Burger King), in a digital company (Yehey Corporation) and media agency (Media Contacts). Prior to MRM, he was president and CEO of Yehey, a Philippine-based digital marketing group that managed digital campaigns and websites for multinational and local clients.

Even then, Lim insisted he was more a businessman and strategist than a digital person. “I only had nine tweets in my life,” he laughed.

In fact, he told Worldgroup’s chiefs he wasn’t

Trailblazers

Lim (front, left) and Tan (front, right)

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Nescafé

Brief Build its brand’s Facebook fan community and leverage the platform for engagement. Work Tactics included compelling wall posts and entertaining apps. Some of the apps helped fans discover which 3-in-1 flavor fitted them best, asked how they prepared their Classic, and turned friends’ status messages into a customized bedtime story to enjoy with Nescafé Decaf. The Nescafé Classic Kada Umaga was a first-of-its-kind online newspaper housed in Facebook – the app allowed readers to customize stories they wanted to receive, with content from Inquirer.net news, and their friends’ Facebook posts. Results Under MRM, the community ballooned from 400,000 fans in 2011 to pass 2 million today. Fan engagement runs especially deep, making them powerful brand ambassadors who defend the brand when it’s slammed online.

right for what was then a traditional CRM shop. “They told me to take it where I wanted to take it and that was digital,” Lim recounted.

With the mandate in hand, Lim and Tan set out to overhaul the shop from the ground up, redirecting its focus to digital.

Sizeable investments were made annually for tools – which included the locallydeveloped Digital Brand Health program to assess a brand’s online assets, reputation and footprint – to tie the shop’s performance to business objectives set by clients.

As part of the change, MRM added social media, digital, production and analytics capabilities its own strategy, creative and accounts team to offer clients a one-stop digital solution.

Staff were hired and training provided in programs such as the Google Ad Words,

IMMAP courses and the in-house digital mentorship program - MRM armed the team for the digital playing field.

Recognizing that the young have an edge in digital, Lim empowered staff, regularly encouraging them to contribute ideas where they can.

“The team is very young and they are the digital natives. Budjette has the framework in place how to run creative and we let them roll with it,” said Lim. Lim is especially proud that the framework is such that “even a junior copywriter can overrule me”.

MRM’s redirected focus paid dividends almost immediately. Lim reported a high pitch success rate, which included scoring digital briefs from McCann Worldgroup clients such as Coca-Cola in a review, and

repitching and winning Nescafé in 2011 and 2012, an account on which MRM has made a strong case for social media engagement (above). It also pitched and won digital briefs from Unilever, Bank of the Philippine Islands and Kit Kat among others.

“We have done the work and we have been recognized, as digital is very numbers-oriented versus other platforms,” Lim said of the slew of awards won over the past two years.

Its 2012 winning streak included the Platinum Best in Show prize alongside McCann Erickson at the Digital Asia Festival for Coca-Cola’s emotional ‘The OFW’ project, which became an internet sensation.

Both the agency and its key staff have also been honored: MRM won the Digital Agency of the Year award from the Philippine 4As and Campaign in 2012. Tan was shortlisted

C A N D I D C H AT T E R “The only time you would talk to geeks in school is when you wanted to copy their homework. With digital marketing, geeks are the new sexy.”

“I’ve only had nine tweets in my life.” “ Our brief for Nescafé Rewards was basically: Not another iPad promotion.”

BUDJETTE TAN

DONALD LIM

Executive creative director

Managing director

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for Campaign’s Creative of the Year, while digital planning director Bea Atienza was voted Campaign’s Account Person of the Year, Southeast Asia, for her efforts in evangelizing digital and co-leading a task force to develop social capabilities within MRM’s Asia Pacific network and for helping regional offices develop a digital strategy.

The office shelf also boasts the Quantum Leap prize for most improved agency from McCann Worldgroup’s first-ever global Excellence Awards in 2011. Atienza was also honored with the Rising Star prize for under30s talent for 2012 at the same awards.

Having turned MRM into a digital outfit, Lim has set the shop’s sights on a wider canvas in anticipation that clients will change the way they treat digital in the coming years.

The agency has been exporting MRM’s expertise to the rest of the regional network. It serves as a consultant, training MRM offices, lending a hand in competitive reviews as it did in MRM Indonesia’s successful pitch for Unilever’s digital AOR and as a BPO of sorts to run client Facebook pages for other MRM offices.

Its other growth strategy is tied to getting its advertising counterpart in the Philippines fully digitalized.

“When we go to the client we want to be agnostic… we are perfecting the system and process to do so,” he said.

The process has involved training McCann’s team, transferring knowledge to the advertising group and, most importantly, dismantling the established practice of dividing income by hours billed to one that splits revenues straight down the middle. Doing so removes what has long been an obstacle to true agency integration and focuses staff on growing the account, according to Lim. The strategy, as he sees it, should ensure MRM continues growing even after clients start consolidating digital into their advertising, and possibly media, accounts, likely by next year.

“We can’t win any more major accounts because of conflicts with Coke, Nestlé or Unilever. Who else can we touch? We also don’t work with small brands. They must have a budget of 5 million pesos so our strength is our weakness,” Lim noted.

“But with McCann doing integrated campaigns, it will be a deterrent for a brand to chop up the account.”

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Bank of the Philippine Islands

Brief Promote the bank’s auto-loan insurance product during summer Work MRM’s team created eye-catching concept cars boasting unique futuristic designs and features. The cars were shown to be impervious to floods, fires and collision damage – the benefits of a BPI Auto-Loan. These concept cars were then propagated in display ads. Those who clicked through were led to the BPI Auto-Loans microsite where they could apply for an auto-loan with free insurance. Results The new take on display ads proved successful – recorded CTR was five times the benchmark with Yahoo, and 10 times the benchmark on the Google Display Network. Most notably, auto-loan applications increased dramatically, in the height of summer before typhoon season.

Coca-Cola

Brief Deepen engagement with teens to forge closer bonds between the brand and the segment. Work The Summer Wishlist campaign positioned Coke’s social communities as hubs where teens can share their summer plans and fancies. MRM also created the Summer Job Twitter campaign, where teens were encouraged to be become summer buddies of Coke’s President for Happiness by uploading videos of themselves introducing the Coke music video Tuloy. Winners enjoyed the experience of being a MYX co-VJ, a PBA Youngstars Cheer Squad, and a PBA Youngstars Courtside Reporter.

Results The campaign established the brand as a summer happiness champion, while maintaining engagement levels on Facebook and bringing new fans to the community.

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Words Sharon Desker Shaw

Left to Right Josephine Bonifacio, chief finance officer; Laurent Goirand, chief executive officer; Carlo Thomas De Leon, deputy managing director; Sebastien Caudron, president; Dino Ocampo, executive creative director; Tet Suntay, client service director

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Support

The agency started out in website development and believes its past gives it an edge over ‘all-creative, low-tech’ rivals

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Movent executives are quick to admit public relations isn’t the agency’s forte. Digital marketing is, however.

Which perhaps accounts for the company’s curious lack of profile despite a relatively lengthy history for a digital shop and a who’s who client list that grew alongside local appetite for all things technology-related.

But the company’s majority acquisition by GroupM, which in typical fashion rechristened NetBooster with a name beginning with the letter ‘M’, has certainly changed all that. More than a decade after setting up shop in the Philippines, first as Yellowasp Corporation and later expanded to include a digital marketing arm, NetBooster, the agency is most certainly on the radar.

French import Sebastien Caudron launched Yellowasp in 1999 as a technology-focused business that provided software and website development services. He later partnered with Laurent Goirand to ink a deal with Europe’s NetBooster group to launch the digital marketing arm. The shop reeled in Unilever’s Axe and later added Del Monte, BDO, L’Oréal, Wyeth and Intel to the roster.

Globe Telecom was until recently a client; its arrival had in fact enabled the shop to scale up in staff numbers and capabilities to provide a full service digital marketing offer.

But with NetBooster shifting its focus away from Asia to Europe, the partnership came to a close, paving the way for GroupM to acquire the agency last year-end.

“Axe was a fun, ideal brand to start with (as NetBooster) as almost 90% of what they do is digital or digital activation,” says Goirand.

The brand allowed the company to extend beyond its technological strengths into digital marketing. Goirand says the agency launched the Philippines’ first branded Facebook page with Axe and later initiatives included creating a private online hang-out where boys could be, well, boys.

“We were a technology company going into digital marketing. In this way, we are very different from creative agencies who are now going into digital.”

As Goirand sees it, it’s Movent’s strengths in technology – the engine that powers campaigns to deliver memorable user engagement experiences – that differentiates it from the “all-creative, low-tech” approach of traditional creative agency rivals.

It’s crucial, he adds, that back-end technology is done right from the get go as it is the foundation on which creative campaigns should be built to be effective in attracting attention in a cluttered digital space, engage customers, capture their data and ultimately drive them to purchase. “Some of our pitches to clients are in fact not creative-focused,” adds Goirand.

Take for instance work for what is now its largest client, Del Monte, won in July last year following a multi-agency review that included creative and media heavyweights. It was tasked to build Del Monte’s full digital foundation for its food ecosystem. Its first initiative was to relaunch the

movent’s Showcase

Movent’s people

Sebastien Caudron founded Yellowasp in 1999, initially providing web development services to overseas markets first and later to local clients. He co-founded NetBooster Asia, opening offices in Manila, Shanghai and Jakarta, and in 2011 co-founded ecommerce site CashCashPinoy. His focus is now on strengthening digital expertise of GroupM agencies in the Philippines and Indonesia.

carlo de LEON worked with key agency groups – Dentsu Indio, Tequila/TBWA. MRM and Leo Burnett/Arc – in customer relationship marketing in the past decade.

He expanded beyond CRM and data analytics to focus on digital marketing and strategic brand consulting in the last five years.

AXE TAMBAYAN SOCIAL MEDIA CAMPAIGN!

Del Monte

Axe Philippines Pinoy guys have a select number of

Brief Build a loyal and engaged community Work It launched a new website, which is about making life better at any life stage. The content-rich site has articles and tips on concerns relevant to customers’ life stage. All articles come with links to product and recipe suggestions. The product pages also display nutrition facts in addition to product photos and recipes. It also updated the Kitchenomics section, giving users access to whatever recipe they need to match the occasion, introduced a kitchen partner with a section on ingredients, kitchen terms and how-tos. A social component was also added for viewers to rate, comment and share recipes on popular social networks.

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Brief Create a private online hang-out interests online: it’s mostly girls, grub, gamescommunity and, well, girls.

But when where Axe’s of men can they do be men talk about girls in the way guys have been known to do, they’re automatically judged Work The Axe Tambayan social as manyaks. media campaign gave Pinoy men a place where they talk about their alwaysSeeing ancan opportunity to create interestson– engagement girls, grub, games and on Facebook, Axe manyak girls – without being judged its Philippines upgraded page into the Axe Tambayan: a man’s private hang-out, (lecherous). On Tambayan, they could place where never be branded see andatalk about thethey’d coolest, wittias manyaks. Here, they were able to see est and and sexiest post of their favorite talk about the coolest, wittiest & topic. Axe sawposts engagement levels sexiest related to the topic they like most: GIRLS. men By giving them a space explode the after providing a place where they could say their naughtiest where they could express theirallnaughthoughts without judged, the brand tiest thoughts withoutbeing judgement. was able explode engagement, and The campaign was estimated to have earned Php 5.2M worth of free media deliveredvalues 5.2mfrom pesos of earned meFacebook interactions alone -- prompting Socialbaker’s to hail AXE dia through fan interaction and was as the most-engaging hailed byPhilippines Socialbakers assecond the second brand onbrand Facebook globally. most engaging globally.

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technology and experience – without all three, the company’s website to make it the go-to destination execution will most likely fail,” says De Leon. for customers to buy products online.

Accordingly, Movent’s 40-person production With its in-house expertise, the agency has also team handles the front-end user interface and moved onto mobile screens, creating a gaming app back-end coding while a usability team puts for client United Laboratories. The augmented reality campaigns through the wringer to identify game allowed users to shoot down a variety of pain and fix kinks in the user experience. monsters by pressing on Medicol Advance softgels that The agency also deploys a rapid prototyping appear randomly on the screen. The game is activated methodology on all products – website, Facebook by scanning a glyph code on Medicol 5s packs. app, mobile, YouTube mastheads for example – to Movent’s approach informs the way the LAURENT GOIRAND not only refine the execution but also have the company has set up its team of nearly 100 people founded his first web end product tested by users before launch. and growing to 140 this year under GroupM. agency for European clients in 2003 and, in Movent’s model has not only delivered prized Production, usability, social media, performance 2007 partnered Caudron clients, but also led GroupM to its door. Most of the marketing and analytics departments are housed to launch NetBooster Asia.

The performance marketing major groups also came courting but Caudron and across several floors of its Makati premises alongside specialist now serves as Goirand believed GroupM’s offer made the most sense. traditional agency set-ups such as creative, account CEO of Movent and regional digital director of GroupM Industry watchers have hailed the acquisition as management, planning, insights, CRM and media.

Philippines and Indonesia. a canny move for WPP’s media management arm, New hires are planned for account making for a strong fit with a group with strengths management and its social media units. that have largely been in traditional media.

“Our creative teams have an art director and Movent has become GroupM’s fifth agency brand in copywriter but also a social media specialist the Philippines, its arrival perfectly timed with GroupM providing social intelligence, a user experience picking up media responsibilities for Unilever under expert, digital production people,” says deputy a deal with long-serving local incumbent Masscom. managing director Carlo De Leon.

Besides Axe, Movent will bring its digital “The number one pitfall of traditional assignments for other brands of the FMCG agencies is that they are very strong in creative giant – Lipton, Surf and a host of backend but they don’t involve the technical person DINO OCAMPO has been in Unilever digital projects – to GroupM. who does the execution until much later.” digital and direct marketing for the last five of his 20-year “GroupM wants to become the best digital marketing When this happens, it’s the user experience creative career. He has won company.

We will provide all the training and skills to that suffers, falling short of the bells-and-whistles awards for his advertising, direct and digital work at their agencies to make this happen,” says Goirand. envisaged by the creative team making the call local and international 2. A short description ofbelated your most recent“Digital work for 2.

Del A short Monte, Axe, Lipton, your BDO, Medicol recent and work Tanduay. for “Theyofhave themost portfolio and we have the Del Monte, Axe, Lip with tech support. agencies need description shows, including Clio, London International, Spikes, Digital knowledge, which makes for a very good fit.” to pinpoint the sweet spot between creativity,

Media Awards, AdFest, Kidlat, Araw and Boomerang.

3. Visuals of work created for these brands.

3. Visuals of work created for these brands.

CASE 2:

CASE 2:

2. A short description of your most recent work for Del Monte and some of the work created for Globe and Axe. 2. A short description of your most recent work for Del Monte and some of the work created for Globe and Axe.

LIPTON CusTEAmizer FACEBOOK APP!LIPTON CusTEAmizer FACEBOOK APP!

3. Visuals of work created for these brands.

3. Visuals of work created for these brands.

CASE 1: CASE 1:

BDO BDO YOUTUBE MASTHEAD – DESIGN YOUR OWN SPACE (HOME LOAN)!

BDO YOUTUBE MASTHEAD – DESIGN YOUR OWN SPACE (HOME LOAN)!

Lipton

The masthead was meant to promote The masthead was meant to promote BDO Home Loanʼs partnership with BDO Home Loanʼs partnership with various real estate developers and various real estate developers and an ongoing sales promotion. This an ongoing sales promotion. This SIMS-inspired masthead allowed SIMS-inspired masthead allowed people to visualize their dream space people to visualize their dream space and reinforced the message that with and reinforced the message that with BDO, having that dream home is BDO, having that dream home is definitely possible. " definitely possible. " " " " "

Brief Create memorable engagement experiences for the banking group Brief Drive the brand’s customer engagement on Facebook Work It created the BDO.com.ph site only after rigorous site framework Work The ‘Lipton CusTEAmizer’ Facebook app allowed people to testing and optimization. The revamped site provides a more seamcustomize their Facebook cover photos and inject more fun in their less experienceInstead when users BDO’s products and promos and Facebook timelines.

The using app delivered an engagement record forencouraged ofreview just using ordinary & run-of-the-mill pictures, Instead theofLipton just Cover ordinary Photo CusTEAmizer & run-of-the-mill pictures, the people Lipton toC makes it easier for viewers to submit enquiries or product applicathe brand – people were engaging with it three times more than the personalize their cover photos and make their Facebook personalize timelines their more cover fun photos than and ever. make The their app even Facebook set new timelines m tions. Movent also created BDO’s YouTube masthead to promote its Facebook average, contributing to Lipton’s fanpage virality, while engagement standards: engaging with helping the engagement app 3x more standards: than Facebook people average engaging contributed with the to app a significant 3x more than home loan product in partnership with various realpeople estate developers. build the brand’s fun and young image.

TheBDO SIMS-inspired masthead –allowed users visualize their dream YOUTUBE MASTHEAD DESIGN YOUR to OWN SPACE (HOME LOAN)! increase Lipton’s & engagement. increase More importantly, in Lipton’s fanpage it strengthened virality the & engagement. brand’s fun &More young importantl image, BDO YOUTUBE MASTHEADin – DESIGN YOURfanpage OWN SPACEvirality (HOME LOAN)! space and reinforced the message that BDO can make their dream and highlighted the message that with Lipton, it doesn't and highlighted take muchthe to make message everyday that with a little Lipton, more it doesn't in-TEA-resting." take much to home come true.

"

"

March-April 2013

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T HE F I RM

carat philippi nes

Leo Burnett’s ace

XX Lorem Ipsum Dolor XX

Turnaround talent...

from left Ramos, Pangilinan, Lazaro and Basinillo

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T H E F IR M

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C A R AT P H I L I P P I N E S

‘A’ for rebound Words Sharon Desker Shaw

Carat Philippines isn’t one to gloss over its loss-making past, its years as a “cellar dweller” when it languished near, if not at, the bottom of the media agency pile.

Arguably a weak link in Carat’s regional network then, the Philippine office had somehow failed to capitalize on the group’s pedigree as a pioneering global media independent, its integrated offer or the first-rate tools and systems to grow its local footprint.

Unsurprisingly, the agency struggled to score invitations to pitches.

Looking to change the plot, parent company Aegis Group installed a new management team to revitalize the office and drive the growth of its multi-brand portfolio, currently at different stages of development.

In late 2011, it promoted Miguel Ramos, then president and chief operating officer of its MediaForce Vizeum brand, to the newly created role of chairman for Aegis Philippines. Also recruited for the turnaround job was media and research veteran Angelito ‘BoyP’ Pangilinan as CEO of Carat Philippines and Media Services, working alongside CFO Myrna Lazaro, who has been with the agency since launch, and general manager Gladys Basinillo.

March-April 2013

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T HE F I RM

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Cobra KOs Pacquiao’s Sting

“Our brief was to build the team, build the client base, build the capabilities to be competitive with the best,” said Ramos.

What the pair discovered as they crafted turnaround strategies were a wealth of tools and systems, rated by a competitor as being among the best-in-class, available in-house.

“When Miguel and I came to the office, those tools were already in place, but no one was using those tools,” Pangilinan said with an incredulous laugh.

To drive usage, the pair brought in an expert from the network to take local staff on a test drive of the extensive toolkit. “We needed to get staff familiarized, disciplined and committed to using the tools.”

These days, the team is only too happy to provide prospective clients a live demonstration of tools that deliver insights such as Aegis’ global Consumer Connection System (CCS), efficiency and added business value.

Extended to the Philippines for the first time last year, CCS is billed by Pangilinan as the most comprehensive study in the market. It has an urban and rural sample of 3,000 respondents and covers more than 50 communications channels, 120 brands and 17 categories.

Carat will take CCS to the field again this year as it builds up the study’s historical database for more robust insights before moving to a biennial frequency in place in other markets. The

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March-April 2013

“When Miguel and I came to the office, those tools were already in place but no one was using those tools.”

Challenge Cobra – the country’s #1 energy drink – was threatened by Sting, a Pepsi brand, which targeted its core segment: The Filipino working class. Sting had Manny Pacquiao – the most famous Filipino athlete-hero of all time, believed to be invincible, as endorser.

Carat had to solidify Cobra’s ownership of the energy drink category and outclass Sting.

Insight Carat gleaned that Filipinos need validation for their daily, often heroic struggle to overcome extreme adversity.

Cobra would recognize these unsung Filipino stories of everyday heroism, and the strength wrenched from within to power punch their way in life, thus connecting to the brand promise of true strength (‘Tunay na Lakas’).

Execution Carat designed and announced a search for Pinoy heroes, collaborated with iProspect to gather the participants, and amplified the results with the events/PR team.

In a first-of-its-kind campaign, no proof-ofpurchase was needed. Nominated individuals with exceptional stories were rewarded in cash or kind. The search ran for 12 weeks, using offline (TV, radio, OOH) and online channels backed by CCS. The promo announcements led people to a Cobra Facebook app, where they could submit stories, share and vote for a People’s Choice Winner. Carat tapped a major radio network to conduct the on-ground search in 10 key cities around the country.

Radio ads included snippets from the on-ground interviews conducted. The winning stories in each provincial area were featured by local TV news programs. From daily, weekly and monthly winners, there emerged three Grand Prize winners: a Police Superintendent who conducts free educational lessons for troubled minors; a rubber artist who recycles discarded rubber materials, inspiring children to create their own rubber art; a former OFW electrician who teaches technical skills to out-of-school youth and jobless adults, who in turn become volunteer teachers. The final award ceremony was held two days from National Heroes Day, and was covered by major broadcast and print news channels and a post ad campaign was created.

Business Value Campaign results exceeded forecast by 352%, 2,000+ stories were gathered, Cobra’s Facebook Fanpage increased to 55,000 fans. Cobra’s market share increased to 70%, keeping it the #1 brand.

investments in CCS and other research subscriptions come in at a hefty 20 million pesos a year.

Carat’s kit also includes tools to deliver media efficiency and budget optimization such as Budget Setter, Allocator or Integra. The latter is a TV buying optimization software with built-in artificial intelligence algorithms to select programs that deliver a client’s usual reach and frequency but at cost savings of 20% or more.

“You can say, ‘I can deliver at a lower cost’ and then the software buys all those funny programs,” said Pangilinan. “With Integra, the software will deliver savings while buying the same genre of programs, channels and the same percentage of primetime buys but at a lower cost.

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Building a new legacy for a heritage brand Challenge After 158 years in the market, Tanduay is perceived as an old brand in a young country. In the face of “fresh” competition, it needed a more contemporary proposition or it would lose its relevance.

To win the hearts of the target market, the agency needed to bring the brand promise to life in a more meaningful way beyond just advertising, and connecting with the consumer on a more personal level.

Insight For the 18-34 year-old CDE market, the best way to be relevant was through music, specifically local, which was in fact slowly dying in the country.

Carat initiated a CSR approach that highlighted the brand’s local heritage and positioned it as one that revived local music, with a strategy to support Filipino rock music while elevating Tanduay’s equity as the #1 Filipino-made rum.

Execution Events took the lead as it would have been difficult for television to deliver the connection. Tanduay gathered 30 of the best Filipino rock icons to take part in the biggest annual music fest in the country, playing in three cities. It did not only celebrate Original Filipino Music, but immersed the audience in the Tanduay experience.

This was hyped through an integrated campaign which included media-led tactical TV and radio commercials to create a call-to-action around the events, press to convey detailed information about the tour, promotion to generate re-trial of the product, a radio jingle wherein the top Filipino rock artists collaborated in support of Tanduay’s aim to promote Filipino rock music, and news-led partnership with the country’s biggest TV station, creating buzz and newsy content for the campaign.

Business Value There was an increase in the brand’s Facebook fan page by 700% in four months, 180,000 attendees at the three events, earned media from coverage in blogs, TV and digital channels of 3 million pesos and an increase in affinity for the brand through owning the rock music genre.

“In other words, we are taking away all the judgment.”

Which makes tools such as Integra an insurance policy of sorts today as specialist media talent have become harder to find and media plans more complex, with multiple touchpoints and channels that require integration.

Pangilinan also sees revenue potential in taking another tool – Momentum Planning – a paid service, to market noting that the ability to predict future sales from the communications plan based on an advertiser’s historical data would be a compelling proposition.

Elsewhere, the network has used the tool to deliver between 6% and 25% improve-

ments in media ROI for as little as 1% of media spend, according to Pangalinan.

To date, the agency has pitched Momentum Planning to FMCG advertisers, and it is currently developing the system for one of its client’s brands.

According to Pangilinan, the agency’s toolkit is central to its strategy of mounting “initiative pitches” to get a look-in from prospective clients, most of whom were not in fact looking for a new agency partner or hadn’t considered adding the agency to its pitch list.

Initiative pitching delivered some of the agency’s biggest wins in 2012 after Carat presented its consumer insights, re-

March-April 2013

search capabilities, tools and optimization technologies to targeted advertisers.

Asia Brewery and Interbev business, estimated to bill US$38 million, and CDO Foodsphere, a food manufacturer with household brands such as Highlands Corned Beef and CDO Karne Norte, were won without a pitch.

The Hapee toothpaste business from Lamoiyan Corporation moved following a pitch that had been triggered by the agency’s live demonstration of its tools to provide insights and efficiency.

Ramos estimated that the agency grew its business by more than 200% last year, turning in its first profit in 13 years, and shooting up from 12th place in 2011 to 3rd place in the Recma charts.

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INTEL

Intelligence E L E C T I O N B U I L D - U P Ci8, a social media research specialist, has been tracking the performance of senatorial bets for the May 13 vote. Its February findings found Eddie Villanueva trailing a pre-gaffe Cynthia Villar in positive sentiment scores Top 12 Senate Candidates

By Positive Sentiment

01

4 4.03%

02

20.32%

12 11 10

09

08

07

06

05

04

03

1.1% 1.19% 1.99%

2.03%

2.17%

4.32%

4.51%

4.9%

6.39%

7.05 %

Rank

Top 12 Senate Candidates

By Share of Voice

27.43%

02

3 .3 7 %

06

05

04

03

6 . 29 %

7 . 07 %

7 , 72 %

1 0 .1 2 %

5 . 32 %

07

5 . 9%

4 . 6%

4.09%

10

08

Villanueva, Eddie

03

Gordon, Richard

04

Aquino, Bam

05

Casiño, Teodoro

06

Poe, Grace

07

Hontiveros, Risa

08

Angara, Edgardo

09

Legarda, Loren

10

Magsaysay, Mitos

11

Ejercito, JV

12

Escudero, Francis

Rank

11

09

Villar, Cynthia

14.33%

3.76%

12

01

01 02

01

Villar, Cynthia

02

Gordon, Richard

03

Poe, Grace

04

Aquino, Bam

05

Cojuangco, Tingting

06

Angara, Edgardo

07

Villanueva, Eddie

08

Legarda, Loren

09

Casiño, Teodoro

10

Hontiveros, Risa

11

Ejercito, JV

12

Magsaysay, Mitos

DISCONNECT

WIRED

Facebook mentions on election candidates showed a striking gender imbalance on International Women’s Day, March 5.

Social media never sleeps as this 24-hour span on February 26 shows Ci8 captured candidate mentions online.

Candidate mentions

2500

29%

2000

Female

1500

1000

71%

Male

500

0 19:12:00

00:00:00

04:48:00

09:36:00

14:24:00

19:12:00

00:00:00

Source Ci8 adobomagazine

March-April 2013

Sp e n d i n g sp ree MANILA Election years are known to unleash a consumer spending spree in the Philippines, which this year will benefit from a 6.6% expansion of the local economy in 2012, a performance that in itself would have energized local consumer confidence.

Kantar Worldpanel forecast 5 billion pesos more in consumer spending on fast moving consumer goods this year ahead of the May 13 mid-term vote after comparing spending trends of election and non-election years.

Household budgets are generally allocated the same for both periods:

52% food, 22% beverage, 18% personal care products, 9% household care products.

But Filipinos are expected to spend 15% more on each shopping trip this year. However,

unlike the 2007 or 2010 elections, Kantar forecast significant increases in spending on non-essentials, luxury items or products, which were not regularly purchased.

These items include seasoning powder, energy/sports drink, air freshener, baby food, ice cream, bottled water, pasta sauce, feminine care, cosmetics, juice, paper products (tissue), cooking oil, cereals, milk products, coffee, snack foods, canned vegetables.

During the 2010 election year, soft drink purchases shot up 3.2 billion pesos and instant noodles and pasta sales rose 2.8 billion pesos compared to previous years.

The biggest leaps in election year consumer spending were noted in South Luzon and Mindanao, rising 14% and 17% respectively.

Lower income D and E households were buoyed the most by elections, spending 16% more on each shopping trip compared to non-election years.

Kantar’s Outlook report comes after Nielsen showed the Philippines bucking a downtrend in its Global Survey of Consumer Confidence and Spending Intentions for the fourth quarter of 2012.

The country’s 119 points consumer confidence score is the second highest in the world after India’s 121.

The survey found 77% of respondents confident about their personal finances, 51% looking to buy products this year: 35% new gadgets, 34% new clothes, 28% will increase spending on vacations, and 18% on out-of-home entertainment.

SMALL IS THE NEW BIG. • • • • • •

Fastest growing Philippine Media Agency for 2012 Ranked No. 1 by R3 Agency New Business League Ranked No. 3 amongst all Philippine Media Agencies by RECMA Bronze Winner, Philippines Media Agency of the Year, Campaigns Asia Brief Digital Agency of the Year in Southeast Asia Campaign Media Network of the Year 2012

Let’s grow together. Call or email us today.

Boy Pangilinan CEO - angelito.pangilinan@carat.com Gladys Rondina-Basinillo GM/COO - gladys.basinillo@carat.com T +(632)750 0989 | 10F Liberty Center Bldg., HV Dela Costa Street, Salcedo Village, Makati City

REDEFINING MEDIA

www.carat.com

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M ARK E T I N G

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DON PAPA R UM

March-April 2013

D O N PAPA R UM

M AR KE T IN G

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premium liquor

Rum Revolution Don Papa Rum wants to take Philippine rum where none have gone before: Into premium territory Words Mark Dantes

DON PAPA, the world’s newest rum brand, is self-tasked with a simple, if weighty, mandate: To revolutionize the way the world perceives Philippine rum.

This newly launched premium liquor, created by the Bleeding Heart Rum Co. (BHRC), is a homegrown custom rum blend produced from Negros sugarcane.

Aged for seven years in oak barrels at the base of Mount Kanlaon, the rum is described as “light and fruity on the nose, while smooth and delicate on the mouth”. The oak barrels give it a distinct sweetness and light amber color, imbibed with a long textured finish distinguished by flavors of vanilla, honey, and candied fruit.

Don Papa is the brainchild of BHRC founder Stephen Carroll, a rum peddler with 10 years of liquor branding experience, boot salesman and all-around digital geek. It was during a visit to Bacolod 10 years ago that the germ of the idea that would eventually become Don Papa took form. While visiting, Carroll was regaled with “stories of an island that had everything; from the world’s finest sugarcane, beautiful beaches, mountains and volcanoes… even guerillas in the hills!”

Listening to these stories of Negros,

Carroll found it inconceivable that the region, famed for being the Sugarlandia of the Philippines, did not have its own rum brand. “The Philippines is the world’s second largest rum market in the world”, Carroll said, in an interview with adobo. “With Negros being the country’s sugarcane capital, it was simply logical that if you have Philippine rum, it should be from there.”

As the idea started to become a reality, bringing the rum brand to life proved to be an exciting journey for Carroll and his handpicked team. “There’s a certain alchemy in spirits”, Carroll noted, “and the Philippine blends are known for their smoother and well-rounded profile.” The key to premium rum, they found, was in the smoothness, a characteristic they achieved though aging the drink in American oak, then applying a distillation process similar to the one used for whisky. According to Carroll, all this is meticulously done in fulfillment of “a duty to create a premium Philippine rum, that could be developed into a truly international brand.”

“There is a trend moving towards ‘premiumization’ in today’s liquor brands,” Carroll responded when adobo asked Don Papa’s positioning. He stated that a significant number of the most popular liquor brands are

March-April 2013

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M ARK E T I N G

DON PAPA R UM

01

01 Rum revolutionaries: From L-R, Founder Stephen Carroll, Head of Brand Monica Llamas, and Head of Operations AJ Garcia 02 Sugarlandia, Don Papa Rum’s birthplace

02

those that are “of high quality, inside distinct packaging, and have a good story”. This is what prompted Carroll’s team to bring the spirit of a 19th century revolutionary back to life.

Dionisio Magbuelas, or more popularly known in Negros as “Papa Isio”, was a simple sugarcane farmer who lived during the Spanish era and rose up the ranks of a group of Negrense revolutionaries armed with guns, spears and enchanted amulets that they believed protected them from harm. Bestowing upon himself the rank of “Pope” as a statement of rebellion against Spanish authorities, Papa Isio

won over a large following with radical concepts of spirituality, agrarian reform, and nationalism.

From the foothills of Mount Kanlaon, he would lead the Babaylanes of Dios Buhawi to free the Negros region from Spanish rule during the Philippine Revolution of 1986, and continued to fight for independence during the time of the American Colonization.

Papa Isio left his mark on Philippine history as the last Filipino revolutionary leader to surrender to the Americans.

“He’s a lot of different ideas juxtaposed,” said BHRC marketing head Monica Llamas, a one-time model, event host and ad woman.

Upon hearing his story from the Negrenses themselves, Llamas found Papa Isio “a perfect fit for the character we wanted to achieve for the brand. He inspired us”.

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March-April 2013

Thus, the Don Papa brand was born.

With a great product and an equally great (true) story in the bag, all that was left to complete Don Papa’s branding was the unique packaging that would help it stand out on shelves. According to Carroll, the brief for the rum’s packaging was borne of feelings of “realism, romance, and euphoria”. The group tapped Stranger & Stranger, a New York- and London-based agency known for its creative liquor bottle designs. The 18-year-old agency’s previous work included bottle designs for Jack Daniels, Absinthe and Ogio. Their design for Don Papa, according to their website strangerandstranger.com, was what they called “an exotic twist on the old Spanish landlords”.

A work of art unto itself, the label on every bottle of Don Papa features 50 different animals and insects indigenous to the Philippines, a design element that forced the agency to “take a few natural history lessons on the local fauna”. In the end, the research paid off, with the agency’s work on Don Papa winning an American Package Design Award at the 2013 GD USA Magazine Awards.

With everything in place, BHRC launched Don Papa in Manila in July of 2012, and in Cebu in January of 2013. The product was also informally introduced to the international market during the UK Rumfest in October 2012, and was greeted with promising reviews.

Though markets overseas will have to wait a bit longer for Don Papa to officially arrive on their shores, the rum-loving Philippine market can now find this smooth, textured rum in over 50 establishments nationwide.

According to Carroll, the goal for BHRC right now is to get Don Papa “into the hands of the right people, in the right places”.

Breaking free of the confines of preconceived notions and inferior blends, a swig of Don Papa Rum should be all you need to be convinced what Philippine rum should be.

Don’t be surprised if you find yourself with the urge to tear your cedula (a government permit) in two; the rum revolution has begun.

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M ARK E T I N G

adob o si d ed i sh / in t he bag

adobo Sidedish

05

01

02 08

03

Gregory Banzon General Manager Century Pacific Group

09 13 06

What is the one thing that will surprise people about you? That I used to dance professionally for eight years on TV, stage and theater. I had classical and street dance training.

04

What’s your guilty pleasure? Going on a 100km bike ride on a Sunday morning, usually to Tagaytay from Alabang or to Naic, Cavite. I usually do this with my teammates. I’ve actually also done a 180km ride alone several times. It took me six to seven hours and I was talking to myself by the 140km point.

10

07

Do you have a secret or hidden talent? I can run a marathon in less than four hours despite my age.

What entertains you? I consume a lot of YouTube, usually the funny stuff or documentaries. I also find that catching up on sleep after my long rides or runs as the best thing to do during the weekends, which is the only down time I have.

11

Candice IYOG Vice President, Marketing and Distribution Cebu Pacific Airways

What are your favorite brands aside from your company’s? Montblanc pens and Moleskin notebooks because I still like the old practice of putting pen on paper. For food brands, I eat anything (like Mang Thomas, Barrio Fiesta bagoong ) despite being an athlete.

01

What makes you laugh? Senseless vids on YouTube.

Complete the sentence: If I wasn’t in marketing, I would be… a journalist.

adobomagazine

12

In The Bag

March-April 2013

iPhone 4 This is my personal phone for surfing and all things personal (i.e. FB, Twitter, Pinterest, etc.)

02

Blackberry Bold My work phone

03

Canon S1000 digital camera This is a gift from my husband because I love taking random photos especially of my daughter and all things curious and interesting.

04

Wallet

09

Alcohol

05

Mont Blanc ballpoints Gifts from my dad because he thinks that what I do is very important and needs special pens.

10

Goody hair pins and black elastics I start my day thinking I can last with my hair down but by 10AM I have to tie my hair.

06

Rosary with case This is from my 97-year old Lola (of my husband), so I bring it with me wherever I go.

11

Calling card leather case

12

Shades Ray-Ban Aviators

13

Cartier EDT

07

Keys

08

Mother Pucker lip gloss

ADVERTORIAL

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M ARK E T I N G

adob o si d ed i sh

Nielsen Media Spend Highlights Top 10 Spending Categories Fiscal Year 2011 Vs. 2012 02

01

35%

03

35,581

18,829

13,856

26,372

17,109

13,388

Hair Shampoos, Rinses, Treatment, & Hairdressing Products

10%

Detergents & Laundry Preparations

3%

05

04

11,374

10,034

10,203

27%

06

12,363

12,964

23%

Entertainment

9,789

Other Food Products/ Other Than Biscuits & Bakeshops

16%

08

07

3%

Communications/ Telecommunications

Dentrifices, Mouthwashes & Toothbrushes

09

13,856

9,972

9,191

13,388

8,568

8,151

16%

Skin Care

13%

Powder Milk

Proprietary Drugs/ other than Vitamins & Tonics

10

9,843

-9%

16%

15%

8,585 141,001

284,080

122,951

244,142 Grand Total

Balance Categories

Cough & Cold Remedies

Top 10 Advertisers By Spend Fiscal Year 2011 Vs. 2012 01

Unilever Philippines. Inc 34%

02

14,854

09

Colgate-Palmolive Philippines Inc. 43%

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14,407

10

March-April 2013

3,932

3,710

3,806

3,297

3,232

Universal Robina Corporation 1%

10,041

4,234

2011 Values 2012 Values

Golden Arches Devt. Corp 66%

13,933

3,402

Globe Telecom, Inc. -3%

18,003

4,319

Monde Nissin Corporation 8%

08

United Laboratories Inc. 7%

05

15,956

07

29,263

NestlĂŠ Philippines Inc. -11%

04

33,967

Selecta Wall’s, Inc. 27%

29,427

Procter & Gamble Philippines. Inc 16%

03

39,347

06

33,967

29,263

* values expressed in million pesos based on published rate card costs **regular thematic and promotion spots only

118

M E DI A

M SA P MEDI A CONG R ESS

MSAP MEDIA CONGRESS

Media pow-wow Media had its day of networking and education at the Media Specialist Association of the Philippines’ first-ever Media Congress in late January Reported by Emarrah Sarreal

Chasing the media longtail For Gina Lorenzana, Unilever Philippines’ vice president of personal care, the “media longtail” remains as relevant today as it did when the term was first coined nearly a decade ago.

More so since the media landscape continues to rapidly evolve through changing media consumption patterns, the shift from mainstream to niche media, the move from one-way delivery via mass media channels to one-to-one communications, the rise of ad-blocking devices such as TiVo and further audience fragmentation.

Gina Lorenzana “People don’t have to be famous to have a following and they can easily broadcast their thoughts about a brand.”

adobomagazine

If anything, Lorenzana appears to relish the flux in media. “There is no exciting time to be in media than today,” she reminded the MSAP audience.

It is the possibilities offered by the “media longtail” that excites her. The term was coined by Chris Anderson, editor–in–chief of Wired magazine, who urged companies to “find the most efficient ways to ‘scale down’ to less mainstream fare”, and in so doing create an advantage for themselves by capitalizing on consumer mobility, a fundamental feature of the era of digital communications.

However, the success of a media longtail strategy does not mean brands have to play across more fragmented media channels. It’s a strategy anchored on convergence – a unity of brand communications across platforms, which allows today’s mobile audiences to connect and engage with brands at a time and place of their choosing. It eschews the traditional appointment viewing model of previous years.

To do convergence well, though, media agencies must be involved in the planning process early on, preferably just after the brand task has been defined but before creative development, Lorenzana explained.

Involving media agencies early on in the process is necessary since new media channels have effectively put power in consumers’ hands, making

March-April 2013

interruption – a feature of traditional mass media – a thing of the past, she added.

The internet has in fact redefined broadcast media while creating the concept of earned media. The latter carries significantly greater weight in an era when word-of-mouth referrals have been greatly amplified by the internet, making it easy for consumers to source recommendations from far and wide as part of the purchase decision-making process.

“People don’t have to be famous to have a following and they can easily broadcast their thoughts about a brand,” Lorenzana reminded the audience of today’s media dynamics.

What does it take to build a brand and deepen engagement with consumers in today’s changed media environment? “The difference between successful brands and those that are not is preference.”

And this is something that can be achieved with creative campaigns and careful media planning, a challenge that continues to bedevil brands and their agencies, particularly if integration is more a pipe dream than reality.

Yet when all has been said and done with convergence, Lorenzana said there was still room for brands to up the ante.

She pointed to Unilever’s Axe Philippines’ mission to send one Filipino, along with 22 other men from around the world, to space. This was a campaign that required an insane amount of brand familiarity but it also turned plenty of heads.

After all, with the communication landscape changing at an unprecedented rate and upending rules along the way, there is no better time to rewrite, if not create, new rules that are better suited to the times.

MSAP MEDI A CONG R ESS

Engage, but not in a numbers game Facebook’s admission last year that 8.7% of its 955 million accounts were illegitimate has spotlighted the perils of social media marketing that relies only on the numbers game and establishing “likes” and fans.

In company filings, Facebook established that 83 million accounts had breached rules, which included 4.8% duplicate profiles and 1.5% users deemed as undesirable.

Clearly, the numbers game is not the be–all– and–end–all of social media marketing, one that will eventually affect the way social media campaigns are measured.

Donald Lim, managing director of MRM Philippines, an early agency adopter of social media marketing, went so far as declare the “death of fans”. In their place, he recommended that brands engage in pure conversations and provide great content to deliver on measurable business goals.

In the same way that “population alone is not an indication of a country’s prosperity”, Lim said conversion rates were the real measure of a brand’s return of social media marketing investment.

So what exactly should marketers offer fans who have pressed the ‘like’ button on their Facebook page?

A March 2012 study by Oracle found that 67% of the respondents appreciate receiving exclusive offers and gaining elite status in relation to the brand. 60% sought interaction and conversation with other consumers and getting and sharing reviews with other users. A quarter said they did not expect anything from the relationship.

As for content on the page, the same study found that 62% of respondents would like to be updated on a brand’s activity, making product news and information a priority task for every brand with a Facebook page. Next in line were customer comments and views (47%), followed closely by a desire for direct response to consumer questions (43%).

MRM Philippines’ Facebook campaign for Nescafé Philippines appears to have hit the digital sweet spot. This multi award-winning effort not only has the numbers (more than 2 Donald Lim “(Nescafé fans) defend the brand for us... we literally don’t have to do anything”

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million fans) but also a content strategy that keeps the community updated and thoroughly engaged.

Its success can be traced to a program that rewards consumers for becoming fans through a consolidated rewards initiative that spans all the apps created for the community. Points earned can then be used to claim prizes from mugs or participate in raffle draws for bigger prizes.

Nescafé and MRM have already introduced a number of apps that reward points like the ‘Serendipics’ contest and ‘Kada Umaga’ to name a few, allowing the brand to capture and keep fans engaged. The result is a loyal fanbase who, according to Lim, would defend the brand when others bash it online. “We literally don’t have to do anything. They defend the brand for us.”

What campaigns such as Nescafé prove is that bechmarks to measure social media initiatives need tweaking, not to the extent that numbers take a backseat but that content is also given its due.

“The death of digital measurements mean that in the corporate and marketing world, we will not be judged with digital metrics,” Lim said. “It will always be about how each of the campaign and efforts drive to sales or other marketing measures. It is therefore imperative that agencies and digital practitioners should start learning how to correlate digital performance with brand performance.

“While digital measurements and metrics are important, one should push it one step further and see how every digital measure applies to business or marketing metrics.”

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MSAP MEDI A CONG R ESS

Upgrade OOH product through convergence OUT-OF-HOME MEDIA is a crucial but also the most misunderstood medium. Bunny Aguilar, communication channels head of Globe Telecom, explained: “[It is] misunderstood because it is a challenging medium for content, if you only had three seconds to make an impact; it is a medium that provides ubiquity yet we all consider it an eye sore on a bad day; and it is a medium that, until now, we still scratch our heads when measuring its effectiveness is talked about in the boardroom.”

Bunny Aguilar “Powerful messages can be delivered when OOH and digital converge”

Digital’s more friend than foe to radio MORE than most traditional media platforms, radio has been hit hard by the onslaught of the digital wave. Nielsen data underscores the challenges radio faces – its share of the adspend pie has been in decline for the past several years.

But radio advocate, Santiago Elizalde, believes the medium’s evolution will help it survive the era of content digitalization. The assistant vice president for promo at the Manila Broadcasting Company made the case for the medium in a way that was more noon-time radio show, complete with DJs strategically interrupting him, prize giveaways and a fair bit of good-natured banter, than a conference presentation.

Elizade was keen to stress that radio was moving with the times, with changes to form and substance, which would keep it relevant with advertisers. While radio remains largely a medium for music, radio shows were increasingly putting the deejay and listeners in the spotlight, a format change that speaks to a wide and heterogeneous audience. Its a format

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Yet OOH is attracting a greater share of the advertising dollar – it grew 11% in 2012 over the previous year. Coupled with better measurement and product improvement, this medium could be poised for the kind of growth evident in other advertising markets.

Aguilar suggested ways to better the OOH product: Proper zoning. Typhoon Milenyo in 2006 was one of the worst for the country.

Billboards on top of houses and along the highways killed scores. Nearly seven years on, EDSA’s 23.8 kilometers remains a mess of billboards. “[Proper zoning] can increase the value of the properties because the industry will know which ones really deliver quality and quantity eyeballs per the target market,” Aguilar said.

Beautification of a landscape. The most effective advertising channel, second only to television, shouldn’t be damned as an eyesore. Billboards can become attractions in their own right as the mega-sized examples in Japan’s Ginza and New York City’s Times Square have demonstrated.

“Art direction behind the clutter” can make an impact.

Going green/sustainability. LED billboards are increasing in popularity these days, a shining example of sustainability

without being drab. LED billboards deliver more impact at lower production costs.

“Though the initial investment is costly, I am sure it is also more profitable in the long run for the vendors because of several advertisers sharing one medium.”

Digital convergence. Powerful messages can be delivered when OOH and digital converge. One example is Nido’s Mothers’ Day campaign where people took their greetings to a whole new level: Greetings and photos on a LED billboard. During the campaign period, there was high interaction between the brand and its fans on Nido Facebook page.

A way to measure effectiveness. “As an industry, we are getting more and more accountable with regard to a medium’s ROI to the business. OOH should not be an exception,” Aguilar stressed. Globe, a major advertiser on OOH, has been persistent in finding ways to measure OOH’s impact on its ROI. Globe has measured OOH ROI through a touchpoints study, which quantifies the value of contact points by studying the role of each in building brand preference and purchase intent, and econometric modeling, which quantifies how every budgets for each medium contributes to the business ROI.

that effectively binds listeners to the show and the radio station.

As part of building connection and engagement with listeners, DJs were also going out in the field and pressing the flesh, a departure from the elitist personalities who ruled the airwaves decades ago.

Even digital has been more friend than foe to radio, aiding its transition from traditional media to one that has a place in the new media mix. According to Elizade, the high penetration rate of mobile, especially smartphones, in the Philippines has allowed the second oldest medium to grow its reach beyond the home and car.

Mobile phone access of radio has contributed to a sharp rise in listenership: Statistics showed 86% tuned in to radio via mobile phones in 2012 versus 77% in 2010.

Digital has enabled real-time audience feedback, making radio a part of the conversation equation, a direction mediums and brands are taking in the quest to engage rather than intrude on their target segment. All these factors have contributed to the personalization of radio, as Elizalde

called it, which allows brands to connect in a unique way with their target audience.

Moreover, Elizade noted that radio provided better reach of the large D and E market segments, which were relatively untouched by the digital explosion. He pointed to a survey that showed 60% tune in to FM and 57% to AM among the D class while 22% of the E class tune into FM and 28% to AM radio.

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Santiago Elizalde Digital has allowed real-time audience feedback for radio

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Old medium set for new age of ubiquity TELEVISION is far from dead. If anything predictions of its demise have been off the mark.

New gadgets have breathed new life into TV within a multi-screen environment and is fuelling the rise of social television.

“That 32-inch screen in your living room will be one of the surviving screens in the future,” Nandy Villar, former adman turned CRM head of ABS-CBN, vowed.

For Villar, television isn’t about the screen; it’s about content. “TV is what you watch – it is the teleserye that made you cry, the sitcom that made you laugh, the bit of gossip that made your jaw drop, the cute ‘artista’ that made you swoon,” he said. “The multi-screen is not killing TV, it’s making it more ubiquitous.”

Nandy Villar ABS-CBN’s experience shows it is possible for this traditional medium to remain viable

Journalists must do more and be better Vergel Santos took to the podium on the MSAP stage, armed only with a few pieces of paper, and launched almost immediately into a heartfelt soliloquy on the impending demise of print. The culprit for the looming denouement? Tecnhnology.

Santos described himself as someone who had “grown up during the romantic age of the (news) paper”. With the influx of digital media and the proliferation of the internet, said Santos, there are only three actions for traditional media in this era: Accept, adapt or perish.

He said “a whole new world has risen…and it’s a world that has no use for paper”, before informing the audience: “(Do) You realize that the combined circulation of newspapers has not grown in the past generation?”

“In order for a serious and good newspaper to flourish, you must have a market that has acquired a

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While once major TV markets such as the US may have moved past appointment viewing, the Philippines remains wedded to the old viewing model. Filipinos still gather around the box to watch their favorite shows; TV viewing is as much about bonding with family and friends.

Villar pointed to ABS-CBN day soap Be Careful With My Heart to demonstrate the medium’s continued strength even when viewer attention is fragmented. The show breached the 30% rating, remarkable for a pre-noontime show. “When that happens, you know that TV viewership is alive and well.”

With TV part and parcel of Filipinos’ viewing habits, ABS-CBN has created its version of the multi-screen approach, all anchored in content. After all, it is powerful content, not new technologies, that can lead to new and meaningful experiences for the audience, Villar explained.

“When a show becomes a ‘hit’, it is because it has engaged various audiences in various ways. A ‘hit’ therefore becomes an ideal springboard for alternative executions where the same piece of content is reengineered to create new experiences, to be enjoyed in new media,” he added.

Two of ABS-CBN’s initiatives are aimed at creating new experiences for the viewer: Digital Terrestrial TV (DTT) and iWantv, both featuring re-engineered content. “Each

of these offers different insights into how content complements technology in shaping viewer behavior,” he said.

The DTT is a set-top box that can be connected to any TV set and viewers can gain access to new channels developed by the network to cater to specific viewer segments, including children, youths as well as parents. The result is a viewing experience geared towards meeting the needs of the Filipino family, according to Villar.

The network’s ‘iWantv’, an online video platform offers free access to video content owned and licensed by the company and its subsidiaries. Rather than fight the shift away from appointment to viewing at their own time, ABS-CBN has chosen to capitalize on the trend. iWantTV is now averaging 18 million page views and has signed up 1.2 million registered users and is still attracting more subscriptions.

As Villar sees it, ABS-CBN’s experience shows that it is possible for this traditional medium to remain a viable, mass media platform today where multiple screens are vying for viewers’ attention. Adapting to the change is key.

“They shouldn’t cause us to panic; we should embrace them, because rather than signal the death of TV, they actually herald a new age of ubiquity for TV.”

certain level of maturity. Until you have that, you have nothing,” Santos said. “In England, people still buy newspapers every day. In Japan, they have not lost circulation.

But in Third World countries, where the levels of education are low, where the levels of readership maturity are low, you have no serious newspaper markets to speak of.”

Santos made it clear that his mission to preserve journalism overrode whatever nostalgia for the industry. He went on to state that the newspaper itself would have to get onto the internet – repackaged and refashioned to make it suitable as well for watching and listening. Indeed, Santos proferred a ray of hope when he asked, “But then, why does the paper as profession have to go the way of paper as mere material? Why should the newspaper, the timeless concept that it is, go at all? And why go now, of all times, in this free-for-all information age?

When its passing would leave the public without a familiar institutional voice to listen to in moments of doubt and confusion?”

He said these moments would happen “more and more often as more and more rogues grab the power offered by technology to say what they like to anyone and everyone, regardless of (its) truthfulness or tastefulness or general worth”. Therefore, “newspaper journalism should be able to help vet releases from the internet by doing what it has been doing all along – informing the public of issues and reporting on them, analyzing, and explaining them. Journalists have to do more and better in order to counteract internet foisting and to get inherent complexities of life sorted.”

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Vergel Santos “In Third World countries... you have no serious newspaper markets to speak of”

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CEO forum

Three CEOs – Nick Waters of Aegis Media, Mark Patterson of GroupM and Runga Somanathan of Starcom Mediavest Group – held the MSAP audience in rapt attention as they outlined best practices picked up in their years as media leaders in the region.

From left Waters, Patterson and Somanathan

Yoly Villanueva–Ong Campaigns & Grey group chairperson, moderator: Media is about money. How does your media agency network address the pressure on media commissions given that a lot of pitches are on a regional level, now involve procurement?

Waters For sure, price plays a significant part in many, many media agencies. I think the industry is a little bit hung up on it as an issue.

It’s simply a matter of market forces in play.

Patterson [Dealing with price with the client] is an issue we tackle every day and what we’re doing about it is to make more people commercially aware about how we make money and where we make money and where we don’t make money. We also make more of our people aware about the fundamentals – the way the agency operates.

Doing so makes them a bit commercially smarter and arming people to have what may seem to be challenging conversations with clients.

Ong How much emphasis does your network place on digital? Do you see digital overtaking television advertising?

Somanathan We should stop talking about digital separately. Digital is

mainstream; it is integrated. Digital is an experience which can be enriched.

Waters I think when we look to one or two markets in the US, we can see that is a reality. For example, in the UK, where there are mass terrestrial television advertisers. I think it still depends on the people and what media they are spending time on.

Ong Brand agencies are asking: Is the intention of media agencies to become full service agencies with creative and account management services? Because they feel that this is a return to the old structure that you broke away from.

Waters All markets are developing, which is why media agencies provide their customers creative value and media expertise they may not be getting from full-service agencies. I think the old way of defining what agencies do is redundant and it’s not helpful. Now, the question is more about what the market would value – a rebundling or repackaging? Does that mean all agencies will be able to provide these types of services successfully? I don’t know.

I think we’re at an interesting stage where the old rule books are gone. It’d be a brave media company that will be able to bring

creative origination to its package ... but that doesn’t [necessarily] mean the market would value media agencies that could provide these services.

Patterson There are a lot of things creative agencies do that we can still learn from, like selling. We talk about selling ideas to our clients, selling products, selling recommendations. They [creative agencies] use the language of selling. And they have a different notion of selling an idea to a client that we can learn from.

Somanathan We still need to partner with people who can articulate the message.

Moving forward, it’s going to be a lot about being resourceful and collaborative.

Ong I was told that there is now a new service called ‘media auditing’ which audits plans of big advertisers to determine whether the plan that was sold [to them] by the media agency is really cost efficient?

Waters Auditors, some of them call themselves consultants, are among the necessary evils. We all share the same concern about these companies – building their business on our data, confidential data and protecting our clients and our own interests. You have to work with it.

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Snapshots 01

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01 Media practitioners taking their coffee break at the Newport Performing Arts Theater, Resorts World Manila. 02 MSAP vice president Angelito 'BoyP' Pangilinan welcomes media practitioners with a keynote address. 03 Globe Telecom head for communication channels Bunny Aguilar discusses the effectiveness and future of OOH media in the Philippines. 04 Starcom Mediavest Group COO Ranganathan Somanathan takes questions about best media practices in the region posed by moderator, Campaigns & Grey's Yoly Villanueva-Ong, and the audience. 05 MSAP president Meckoy Quiogue wraps up the congress with key points from the day's presentations. 06 BusinessWorld chairman of the editorial board Vergel Santos recites a beautiful soliloquy on the demise of paper as a medium but urges the audience about the importance of journalism in this age of uncertainty. 07, 08, 09 The first MSAP Media Congress ends with a bang as GMA7 talents delight the audience with a Gangnam Style production number. 10, 11, 12 MSAP officers, led by Pangilinan and Quiogue (in photo 11), toast to the success of the first media congress and urge media practitioners to embrace the brave new world.

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March-April 2013

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om d on g unn w i nni ng str eak

OMD on Gunn winning streak For the seventh year in a row, Omnicom media shop wins most creative crown

OMD has again claimed top honors in the annual Gunn Report on Media to emerge as 2012’s most creative Media Agency Network of the Year, marking its seventh consecutive win since the annual ranking launched in 2004.

As with Gunn’s Most Awarded Report for Creativity, the media creativity index combined winners’ lists from the world’s major award shows to establish the global league table.

The order for the Top 3 networks was similar to 2011 – MindShare in second place followed by Starcom. All three networks significantly improved their performance in the 2012 report: OMD scored 331 points (compared with 176 points in 2011), MindShare 229 points (161 points) and Starcom 218 points (142 points).

A remarkably successful Cannes Lions 2012 outing buoyed OMD’s score. The network picked up the Media Grand Prix and 15 Media Lions at the festival, more than any other media network in the competition. London-based Manning Gottlieb OMD won the Grand Prix for an outdoor campaign to demonstrate Google’s voice search product (main picture).

GroupM, WPP’s media management arm, won the Holding Company of the Year honors, scoring 714 points, ahead of Omnicom Media Group’s 605 points and Publicis Groupe’s 445 points.

Coca-Cola topped Gunn’s ranking of 13 advertisers worldwide recognized for their

media creativity in 2012. The soft drinks giant scored 97 points with campaigns from 28 different festivals, demonstrating the quality and originality of its world across the world. It had its most successful Cannes outing in 2012, winning 20 Lions including the Outdoor Grand Prix for ‘Coke Hands’ by Ogilvy & Mather Shanghai. The company will in fact be honored as Creative Marketer of the Year at Cannes this year after winning 100 Lions in nearly 50 years of competition.

McDonald’s with 76 points took the second place followed by Ikea with 46 points.

No Campaigns of the Year were announced.

Gunn noted that media campaigns, unlike purely creative advertising efforts, varied from one country to the next, with few being international in nature, to effectively rank.

Instead, the report chose to highlight

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campaigns that obtained a significant number of points and which won awards in four or more regional or global festivals.

It praised Daimler AG’s ‘Smart Eball’ (pictured above left), Engagement Citoyen’s ‘The Return of Dictator Ben Ali’ (pictured above right), Google’s ‘Voice Search’, McDonald’s ‘Coin Hunting’, PepsiCo’s ‘Bottle Light’ and URA.ru’s ‘Make the Politicians Work’ for their creativity, innovation and results. “(They) show how important it is to think out-of-the-box, to invent new media and also to use the ‘oldest’ ones. All these campaigns have tangible results and prove that creativity and efficiency go together,” stated the report.

As with Gunn’s Most Awarded creative index, the US was the top Country of the Year with 282 points, 98 points ahead of the UK’s score of 184 points. India trailed the UK with 181 points .

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M ED IA SHOWCASE

Media Showcase Media shops show their creative chops with work that goes beyond a straight media buy

Advertiser Pedigree Work ‘Doggy Day Camp’ Agency Starcom MediaVest Starcom struck a partnership with National Geographic’s Dog Whisperer show to create a first-ever Doggy Day Camp to sustain the loyalty of current customers, drive conversion and build a community of dog lovers.

Invitations were sent through Pedigree’s Facebook page (then with 65,000 fans) for the event, which featured a variety of activities, from grooming to seminars. Some 500 dogs of different breeds participated with Pedigree sampling about 1,500 dog products.

Advertiser Krem-Top Work ‘Change for the Better’ Agency M2M Media The agency timed the launch of ‘Change for the Better’ campaign – created to ingrain the message that coffee becomes richer and creamier with Krem-Top – with the start of 2013, a time when people are in high spirits making new year resolutions. The multimedia campaign across TV, radio and social media encouraged its target market to make small but meaningful resolutions for the new year. It did so to reinforce the idea of starting the year with coffee moments that becoming richer, creamier with the use of Krem-Top. To further engage people, ‘Walls of Change’ were mounted on several New Year’s Eve countdown events, and a website where everyone could upload their change-for-the-better memes was developed.

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Advertiser Olay Work ‘Olay Conversations’ Agency MediaCom In line with the strategy to inspire women facing the prospect of aging, the agency conceptualized and produced an online talk show that featured empowering stories of fearless women revealing their deepest truths in their darkest hour. Talk show king Boy Abunda headlined ‘Olay Conversations’. Digital was selected as the key medium as it offered the opportunity to micro-target in a more intimate way – to cover topics and questions TV normally shies away from.

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Advertiser Nestlé’s Nesfruta Work ‘Bring Out What’s Real’ Agencies ZenithOptimedia / Publicis Manila ZenithOptimedia used a variety of media channels to excite consumers by bringing out Nesfruta’s real fruit taste, smell and nutrition to highlight its real fruit powder formulation and added vitamins. Media buys included the first-ever mango die-cut execution in newspaper jackets, mobile and online ads to drive consumers to sampling locations and outdoors ads leading to mall areas, sampling for bloggers plus nationwide radio presence, including DJs to create buzz about the realness of Nesfruta. Expanded reach plus new uses of more channels such as the die-cut executions and new mobile technology to drive sampling. The latter delivered 22,000 clicks in 14 days and CTR of 10%, seven times higher than the Asia Pacific benchmark.

Calling creative media agencies

Do you have a new media campaign to showcase, one that demonstrates your agency’s ability to move beyond routine media buys? As campaigns featured in this spread show, adobo is looking for work that stands out, work that artfully balances efficiency and creativity to deliver tangible results. If you do, please send a short write-up of the media campaign along with high-resolutions visuals to editorial@adobomagazine.com

March-April 2013

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10,287 likes • 3,691 talking about this

1st National Digital Arts Awards Captures 10,000 Fans 1ST NATIONAL DIGITAL ARTS AWARDS CAPTURES 10,000 FANS The 1st National Digital Arts Awards >>> Fast Forward Pilipinas! goes full swing this March as social media support steadily rose to almost 10,000 fans in Facebook in a matter of 3 weeks. The national contest presented by Globaltronics, Inc. and co-presented with the AdBoard, the OAAP, the Presidential Communications Operations Office (PCOO) and other partners was downloaded by some 3,000 prospective contestants. In the previous week alone, some 500,000 people have seen the Digital Arts contest. Over the past month almost 4,000,000 have seen the page through their own friend’s pages.

The 1st National Digital Arts Awards >>> Fast Forward Pilipinas! has exceeded the number of fans of even the Philippine Blog Awards now at 7,132 and that the Philippine Web Awards with 405. National Organizing

Media and DOOH Media Partners like Business Mirror, Business World, Manila Bulletin, Adobo Magazine, Win and Big Radio, Star Cinema and Creative Manila have helped publicize the contest nationwide, particularly in the key cities of Cebu, Iloilo and Davao.

For its part , digital out-of-home (DOOH) media using LED displays has kept the public in the know about the contest. Globaltronics runs the NDAA ads every 15 minutes in their LED displays at Makati Avenue cor. Buendia Avenue, Eastwood Plaza Mall, Lamoiyan at SLEX West Service Road, PGH along Taft Avenue and at their Naga City site.

Digital Art for the Have Nots Support from the Academe is steadily increasing and believers in the advocacy getting younger. The Makati ICT Society this March will partner with Globaltronics to train Makati’s selected public high school students in a Digital Art Workshop and Competition together with the University of Makati and the DepEd of the Makati District. Mr. Guido for his part said, “we want to reach out to those who need the skills to help their siblings and even their parents. Given the right skills and the proficiencies, these young people can be paid relatively well if they go into digital art.”

Committee Head, Mr. Nato Agbayani noted that, “the 1st National Digital Arts Awards or NDAA has been unexpectedly enjoying phenomenal success considering that this is the first time we are holding the contest.” Mr. Wilmer Guido, Head of Creatives of Globaltronics, Inc. the contest’s main presenter said, “we are happy that somehow a lot of digital artists are interested to join, this shows us that that recognition for the Filipino talent is an idea

In an article written in a website for Digital Artists, Deviant Art, digital art was referred to as: Digital art most commonly refers to art created on a computer in digital form. In an expanded sense, "digital art" is a term applied to contemporary art that uses the methods of mass production or digital media. The impact of digital technology has transformed traditional activities such as painting, drawing & sculpture, while new forms, such as net art, digital installation art & virtual reality, have been recognized artistic practices. More generally the term digital artist is used to describe an artist who makes use of digital technologies in the production of art. Digital artists are artists who make digital art using computer graphics software, digital photography technology & computer assisted painting to create art.

whose time has come.”

From Deviant Art by ~darkmotives, Feb 11, 2009

Young Heroes

Sponsors Support Sponsors coming from the private sector have also committed to the advocacy. The country’s number 1 unibank, BDO has joined to support the contest through cash prizes. Cebuana Lhuillier, the Philippine’s number 1 pawnshop will open-up their branches as contest information centers and will provide special awards.

The deadline for entries is April 15. The organizers hope to sift through and select the best from the country’s brightest aspirants and professionals. The selection will be reduced down to 20 entries on the 1st leg, then down to the top 10. On the awarding night, the judges coming from the advertising and digital art industry will select the Top 3 for each category and a people’s choice awardee. The NDAA Organizing Committee hopes to raise young heroes from the winners, role models who could be material to shake the country as we shout, Fast Forward Pilipinas!

Contact Person:

NDAA - National Organizing Committee 721-2878 fax 411-1820/ 503-0477/ 0917-3969366/ 0922-8868820

FOR MORE INFORMATION, VISIT: facebook.com/GlobaltronicsInc

www.globaltronics.net

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Long live Cannes BRANDED CONTENT AND ENTERTAINMENT LIONS Scott Donaton, President, CEO, Ensemble

In 2009, an article written by Bob Garfield for AdAge quickly gained industry notoriety for questioning the continued relevance of the venerable Cannes Lions.

Three years later, with no slowdown in sight, the answer to Garfield’s question was crystal clear: The Cannes Lions is as relevant today as it was in 1953.

Sure, the festival hasn’t been without its share of setbacks and stumbling blocks. From the 1990 Gulf War – which saw the launch of high-profile seminars to counter slower attendance growth – to today’s slow motion economic recovery, every obstacle has been met head with ingenious solutions befitting the creative festival.

Organizers have pulled out all the stops to mark its landmark 60th year. A who’s who of 16 creative luminaries will head its juries, including a new Innovation Lions category to “honor the technology and innovation, which lead to the creative idea being possible.’

Speaker choices have been equally inspired. A small sample of the speakers set to take the stage include Cirque du Soleil’s CEO and president Daniel Lamarre, CNN anchor Anderson Cooper and latenight host Conan O’Brien, fashion’s leading lady Vivienne Westwood and two of advertising’s greatest minds – the outrageous and outspoken George Lois and Lee Clow, who worked alongside Steve Jobs to build the Apple brand, a job that turned TBWA into a creative force.

“Brand storytelling has evolved from a cool check-the-box tactic for marketers to a crucial role in global marketing strategies, and a business imperative. I am excited to view and reward work that is fresh, original and engaging, and that helps define the path forward.”

Creative Effectiveness Lions Shelly Lazarus, Chairman Emeritus, Ogilvy & Mather “I’ve only been to the Cannes Lions Festival as a spectator. To come back this year as a jury president, and for the Creative Effectiveness Lions, no less, is a great honour for me personally and for Ogilvy & Mather. At Ogilvy, effectiveness has always been as important as creativity; so I look forward to seeing the world’s most effective campaigns and discussing them with my fellow jurors. I anticipate fervent and provocative discussion.”

Cyber Lions Bob Greenberg, Founder, Chairman, CEO, R/GA “I have enjoyed a close working relationship with the festival over the past decade, and each year I find myself struck by the excellence in creativity, and the calibre of innovation on display – the Cannes Lions Festival continues to represent and celebrate the work of people who are at the forefront of our industry globally. I am looking forward to seeing the entries and hope they inspire and are meaningful and useful to consumers. It’s going to be fascinating to see what this year’s entrants serve up to the judges, in what promises to be yet another ground-breaking year for what is truly advertising’s most important event.”

Design Lions Mary Lewis, Creative Director, Founding Partner, Lewis Moberly “In judging creative work I have a rule of thumb: Does it win the eye, the heart, and the mind? Winners go for all three.”

Press Lions Marcello Serpa, Partner, Chief Creative Officer, AlmapBBDO “I have just turned 50 myself and will never forget how much Cannes Lions has meant to me over the last 25 years. This is much more than an invitation, it’s a great gift.”

Cannes’ stellar cast of jury presidents assembled for the creative festival’s landmark 60th year hold forth on what makes the show special, whether attending as a judge, winner or delegate

Direct Lions Mark Tutssel, Worldwide Chief Creative, Leo Burnett “The Direct category is amazingly placed to benefit from the everchanging technological, social and cultural shifts we are all experiencing. It has so many opportunities to communicate straight to the customer and the ability to ignite and influence people’s behavior.”

Film Lions Sir John Hegarty, Founder Creative, Bartle Bogle Hegarty (BBH) “Film is the most powerful, persuasive medium at the hands of a communicator.

It has been celebrated by the Cannes Lions Festival for the last 60 years. One approaches chairing that jury with both trepidation and excitement.”

Film Craft Lions Joe Pytka, Director, PYTKA “There is nothing without craft.”

Innovation Lions David Droga, Founder and Creative Chairman, Droga5 “Our ability to invent new creative platforms is what enables this industry to move forward. We need to celebrate those precious few ideas that introduce new canvases. The best ones transcend any medium or story and take us somewhere we’ve never been. I am thrilled to be part of such an important new category.

The water may be uncharted, but we still need to forge ahead.”

Media Lions Jack Klues, Chairman, VivaKi “As media continues to evolve and expand across multiple screens and consumer experiences, I’m inspired to serve as President of the Media Lions Jury this year.

The unique contributions of media and the skills required to execute powerful media engagements require careful consideration if they are to be properly evaluated, and I look forward to working with industry colleagues to uphold the worldclass standards of quality and creativity that Cannes represents.”

pocket. No one imagined that you can actually watch things on this little screen. The irony is that the biggest revolution is happening on the smallest screen we have. In 2013, I look forward to seeing the biggest ideas that may have the smallest form. And that’s the kind of exciting times we live in.”

Outdoor Lions Tony Granger, Global Chief Creative Officer,Young & Rubicam “[Outdoor] such an interesting medium because there is so much innovation.

It’s more digital than ever before. It engages with mobile. It’s often film.

It can be live. It can be traditional. All exciting stuff.”

PR Lions David Gallagher, Senior Partner, Chief Executive Officer, Europe, Ketchum “This festival offers a rise-and-shine moment on a global stage for the PR community, and I’m honoured to take part in selecting the very best of our creative efforts from around the world.”

Promo & Activation Lions Rob Schwartz, Global Creative President, TBWA\Worldwide “This category has exploded in recent years and has become one of the most creative, most exciting and most innovative parts of the entire festival.”

Radio Lions Ralph van Dijk, Co-Founder, Creative Director, Eardrum “All we need now is stunning work, so dust off that brilliant radio idea you’ve kept in the bottom drawer, because this is definitely the year to sell it, make it and enter it.”

Titanium & Integrated Lions Dan Wieden, Co-Founder, Chairman, Wieden+Kennedy “There is something about Cannes that keeps calling you back. And given the revolution at hand, I could not be more thrilled to come check it out.”

Mobile Lions Rei Inamoto, Chief Creative Officer, Vice President, AKQA “Sixty years ago, no one thought that there would be a screen that would fit into your

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CANNES LIONS 2013

Pictured Jim Stengel

Illustration www.floydianslip.com

CANNES LIONS

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Collaborating with an artist

Schooling CMOs

Gerald Scarfe is no conformist. The legendary artist made a living out of illustrating and graphic designing but with a penchant for going to a place where no ordinary artist dares to go. “I made my career in the 60s by pushing the envelope, pushing against what was acceptable….[my drawings] offended a lot of people because some of them… are public people and I showed them in a not very good light.”

Controversies and ruffled feathers aside, Scarfe’s work ethos has won the hearts of the festival’s organizers, who commissioned him to collaborate with the show’s in-house creative team to create artworks to brand the city of Cannes during the festival. These will be revealed to the public in France when the Festival begins on June 16, 2013.

Said Philip Thomas, Lions Festivals CEO: “As part of our anniversary celebrations, we wanted to highlight the importance of creativity, which is at the heart of Cannes Lions, by having something unique and iconic commissioned befitting this special milestone in the history of the Festival.”

Cannes has launched a two-day customized program for chief marketing officers (CMOs) led by global brand consultant Jim Stengel, Procter & Gamble’s former global marketing officer, making him uniquely placed to lead the initiative.

The program is an exclusive opportunity for a select group of chief marketing officers and senior marketing directors to focus on the key issues they and their brands face in an ever changing communication landscape under the mentorship and guidance of Stengel.

Topics include: Provocative and actionable insights from brand and agency teams who worked together to win Titanium and Effectiveness Lions that accelerated their brands’ growth, building brand equity, getting the best from your agency, unlocking creative excellence, the Advertiser of the Year’s secret to success and individual CMO ‘Nightmare’ presentations and group work to provide solutions.

“This unique program will enable senior marketing leaders to return to their companies better prepared to deliver sustainable and endurable brand value,” Stengel said.

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Key dates to remember Festival dates June 16-22, 2013 Deadline for submission of entries March 28 Delegate registration Ongoing CMO Accelerator Program June 21-22 (to register email stevelatham@ canneslions.com)

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AdFest 2013 Connect the Dots 17-19th March, 2013 Pattaya, Thailand

The men and lone woman leading 2013’s juries

RONALD NG Press Lotus

in Sydney, where he helped the agency win Australian Direct Agency of the Year.

He has been joint-CEO and ECD in M&C Saatchi New Zealand for three years.

Ronald Ng has been described by BBDO North America chairman David Lubars as “one of BBDO’s great global talents”. BBDO/ Proximity Singapore’s chief creative officer by way of Malaysia and New York, Ng believes that creativity is important in every form and medium. His interactive installation for Autism Speaks has earned a place in New York Museum of Modern Art (MOMA) archives.

Santosh Padhi Design & Print Craft Lotus Santosh Padhi spent 10 years in Leo Burnett, climbing to national head of art before leaving to launch hot shop Taproot India. He was instrumental in helping Burnett bag the Agency of the Year title twice in the global network. His most recent print campaign for Conqueror Papers has won gold almost everywhere on the awards circuit, ranking 11th as most awarded in the Gunn Report, 2011.

VALERIE CHENG Interactive & Mobile Lotus Valerie Cheng, JWT Singapore’s ECD, emerged as Digital Creative Director of the Year at the 2011 Advertising Hall of Fame, and defended the title again in 2012. She also led the office to winning the Digital Agency of the Year Award and the Grand Prix in the 2012 Creative Circle Awards.

JOHN Park Film Craft, New Director Lotus Founder and director of Addict Media Films, John Park is one of Korea’s most acclaimed commercial directors. His work (most of which he edits himself) has garnered more than 17 medals in international shows like Cannes, One Show and AdFest. Park was born in Korea but moved to Los Angeles when he was 11, exposing him to a wider range of artistic views and styles.

NAOKI ITO Outdoor Lotus Before founding creative lab PARTY Tokyo in 2011, Naoki Ito held creative roles at ADK, GT Tokyo and Wieden+Kennedy Tokyo. He has over 200 awards to his name for the likes of Nike, Google and Sony. Ito captured global attention with work such as the 3D printing photo booth ‘Omote 3D Shashin Kan’ (2012), ‘Love Distance’ for Sagami Original (2008) and ‘Big Shadow’ for Microsoft Xbox (2007).

DAVE KING Direct & Promo Lotus During Dave King’s time at AIM Proximity Auckland the shop reached number two in the world according to the Won Report. That was before making a comeback to the M&C Saatchi network

FARIB CHEHAB Effective Lotus GRAHAM FINK Grand Jury President, Film, and Radio Lotus London-based hot shop Collet, Dickenson, Pearce hired Graham Fink and his partner on the spot when they came in dressed as two old men after hearing the day before that the agency wasn’t taking students. Fink never looked back, going on to win at countless shows, including four BAFTA’s, for his creative work at M&C Saatchi and his own production company Thefinktank.

His ‘Face’ campaign for British Airways earned a spot on the list of 100 greatest ads of all time. He is currently the chief creative officer of Ogilvy China, which won a Cannes Grand Prix for Coca-Cola’s ‘Coke Hands’.

“I always look to award work that I wish I had done,” he says. “That’s a pretty good maxim. It doesn’t matter which category. I will be encouraging the quiet ones to speak up and I will be constantly reminding everyone that our names will be associated with all the winners

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Arab Ad’s 2013 Man of the Year Farid Chehab is AdFest’s first jury head from the Middle East. He co-founded H&C with Charles Homsy in 1974, which subsequently struck a partnership agreement with Leo Burnett in 1981.

Chehab is currently the honorary chairman and advisor to the board of Burnett Middle East/North Africa.

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CREATIVE PARTNERS March 18 & 19/11.00-13.00

WORLD PRODUCERS SUMMIT March 17, Sunday/13.00-15.30 For the second year in a row, AdFest is hosting the Asia Pacific & Middle East Chapter of the World Producers Summit which had previously convened in Cannes. Through a series of forums, the summit will offer international motion picture producers an opportunity to learn from each other and arrive at solutions to prevailing and emerging issues in the industry. Co-hosted by Matt Miller, president and CEO of the Association of Independent Commercial Producers, and François Chilot, president of the Commercial Film Producers of Europe, seats to the summit are strictly limited to 40 production company owners and executive producers on a first-come, first-serve basis.

YOUNG CREATIVE WORKSHOP March 14-16/9.00-17.00 Launched in 2004, the Young Lotus Creative Workshop zeroes in on developing young talent, “the lifeblood of our industry”, according to Spencer Wong, the chief creative officer of McCann Worldgroup, Hong Kong and workshop chair. Over two–and–a half days, creatives under 28 will be treated to a series of lectures by a

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YOUNG MARKETER WORKSHOP March 14-16/9.00-17.00

ADFEST 2013

Illustration Claudine Delfin

Creatives aged 30 or under have the opportunity of honing their creative problem-solving skills through a series of Inspiration Sessions, co-presented

by D&AD. Dubbed the AdFest+D&AD Academy, the sessions will allow participants to probe the minds of some of the region’s top creative directors.

“AdFest and D&AD share many of the same fundamental goals and principals.

Both organizations are committed to supporting creative excellence, and both are passionate about nurturing emerging talent and encouraging experimentation.

This makes our partnership with D&AD all the more exciting,” says Jimmy Lam, president of AdFest.

Tim Lindsay, chief executive officer of D&AD in London, says: “The AdFest+D&AD Academy will help young creatives prepare for the seismic shifts that are occurring within our industry.

D&AD prides itself on running programmes that empower individuals and teams to raise their creative game.”

select group of “trainers” from McCann Worldgroup, plus a chance to present their brief in front of industry experts at the Young Lotus Creative Session.

Finetuning Special Awards Changes an acknowledgement that TV is no longer king AdFest organizers have reassessed the way the Special Awards are tallied, making the process more transparent for agencies, production companies and marketers entering the 2013 Lotus Awards.

Categories such as Film Craft, New Director and production-based Print Craft will no longer contribute to the tally for the Network of the Year, Agency of the Year or Advertiser of the Year titles. At the same time, the Agency of the Year award is now open to all agencies, regardless of whether they’re advertising, digital, PR or direct.

The agency that wins the most number of metals and finalists in the Interactive and Mobile categories will be crowned Interactive Agency of the Year, while only Craft categories are considered for the final tally for the Production Company of the Year, including Film Craft, New Director and production-based Print Craft. “In repositioning the Special Awards, AdFest is acknowledging that TV is no longer king,” says George Mackenzie, managing director of Robber’s Dog Production Company in Auckland and an executive member of the AdFest Collective.

“AdFest has also opened up the Production Company of the Year award so that any production company – be it in print, music, film or production – can win. All craft disciplines, not just film production companies, play a role in rolling out ideas today.”

This year will also see the introduction of Grande for Humanity, a brand new award recognizing excellence in Public Services, to be determined by the Jury Presidents that will count for 15 points against the winners’ final tallies.

In addition to the changes in the special awards, juries may now group single entries into a campaign if they agree that the single executions are stronger as a campaign.

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Leo Burnett Asia Pacific is hosting the inaugural Young Lotus Marketer Workshop, tailored for young marketing talents working within a client organization. Saurabh Varma, chief strategy officer at Leo Burnett Asia Pacific, will chair the first Young Lotus Marketer Workshop. Managing directors, strategists and creative leaders will headline a series of lectures that will help young marketers develop more effective and creative brand campaigns.

There will be a 24-hour deadline for an assignment that follows, with finalists being asked to present their brief onstage at the Young Marketer Session. Judging will be by the Young Lotus Marketing Committee from Leo Burnett.

ADFEST UNVEILS FAB FOUR March 19 From a total of 29 scripts sent in from 10 cities across the region, AdFest has picked out the Fabulous Four directors who will be presenting their five-minute flicks on March 19. The Fab Four are: Md. Kamruzzaman Ratan (Dhaka) Director, ‘Unsolved Stars’; Md. Reazul Amin (Dhaka) Assistant Director, ‘The Empty Side’; Raphael Elisha (Melbourne) Director, ‘Truel’; Takeshi Izumida (Tokyo) Director, ‘Transcendent Love’

BBDO’S YOUNG COMPETITORS March 17 The copywriter-art director tandem of Patricia Golez and Dennis Nierra is representing the Philippines at the Young Lotus Competition on March 17.

According to Joey Ong, president of the Creative Guild of the Philippines, the BBDO Guerrero team’s work “stood out from the start”, offering a fresh approach to solving the age-old issue of vote-buying in the country.

Drawn up for the Philippine Association of National Advertisers’ brandcamp, the brief pressed for an anti-vote buying campaign for the voting Filipino masses, stressing on the important detail that the target market is not digital savvy.

Golez and Nierra’s pitch was indirect, yet displayed a clear message: Solve the problem through education. It caught the attention of the judges, giving the creative pair the ticket to compete with other young talents in the region.

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THE UA&P Tambuli Awards 7th Asia-Pacific IMC Effectiveness and Values Awards May 30, 2013 Manila

Value-added advertising The UA&P Tambuli Awards 2013 celebrates values in effective communications for the seventh year Words Emarrah Sarreal

“Advertisers have a responsibility to both consumers and society,” said John Martin Miller, chairman and CEO of Nestle Philippines, and last year’s Tambuli Awards Effectiveness Advertiser of the Year. “Great advertising is that which not only communicates how products and services can contribute to the enhancement of the quality of the lives of individual consumers but does so in a way that is in tune with the fundamental values of the society in which those consumers live.”

“Amidst the glut industry awards that honor incredible visuals and sales figures, Tambuli champions a philosophy in marketing that rightly recognizes the integral connection between values and effectiveness,” said John Ziegler, DDB Asia-Pacific, Japan and India chairman and CEO. “Brands have to deal with its audience as people. Campaign messaging that reflects that through a strong and ethical point of view will get the best results.

“Bill Bernbach once said that, contrary to popular belief, creativity was the most practical thing a businessman can employ. As the UA&P Tambuli awards prove, values are just as sensible,” Zieglar added.

Lowe regional president leads 2013 jury This year, for its fifth installment, AsiaPacific’s only values-led awards show comes back with Lowe + Partners Asia-Pacific

Illustration Claudine Delfin

Aiming to reverse communications’ attraction towards the things that make people merely stop and stare, this year’s Tambuli Awards are looking for ads that splay virtues such as hard work, spirit of service and family values. president Rupen Desai as Overall Jury President. Having spent most of his working life at Lowe, Desai’s experience spans Mumbai, Dubai, Beirut, London, Bangkok and Singapore, where he is currently based.

Desai’s preference for integrity in the workplace and the products that Lowe produces for their clients makes him a good choice for this role. He has been known to say that under his watch the creative shop will not compromise on the creative product and would rather be understaffed with the right quality rather than compromise on the quality of talent or the work they create.

In addition to his role as regional leader, Desai continues to manage communications on the Unilever laundry business ‘Dirt is Good’ proposition for Lowe, globally. ‘Dirt is Good’ is renowned as an effective case of Populist Creativity at work and was recently consolidated globally at Lowe.

Notable among his accomplishments are the awards his teams have garnered in numerous global and regional shows like Cannes, New York Advertising Festival, Effie’s, London International Awards, Clio, AME’s, Spikes, Dubai Lynx and more for campaigns for the like Unilever, HSBC, Stella Artois and Johnson & Johnson.

New categories For 2013, the Tambuli Awards introduces four new categories: Integrated Digital or Mobile Led Program, Integrated Outdoor Led Program, Integrated Promo and Integrated Branded Content and Entertainment; and special awards, which will be given to select agencies and individuals: Effectiveness Creative Agency of the Year, Effectiveness Media Agency of the Year, Effectiveness PR Agency of the Year and Network of the Year.

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Key dates to remember: Deadline for submission of entries: March 20, 2013 UA&P Tambuli Awards 2013 conference: May 29, 2013 UA&P Tambuli Awards Night: May 30 All entries may be submitted to: The UA&P Tambuli Awards School of Communication 3/F College of Arts and Sciences Building University of Asia and the Pacific Pearl Drive, Ortigas Center Pasig City, Philippines 1600 For inquiries, contact Karla Pelayo-Lozano at 6370912 local 393 or via email at karla.lozano@ uap.asia.

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Print’s creative spin Winners of country’s toughest print show showcase medium’s resilience Reported by Emarrah Sarreal

MANILA BBDO Guerrero was on a winning streak at the 3rd Tinta Awards, “the Philippine Creative Print Awards”, as it took home three of the year’s highest accolades: a Grand Prix each for the National Union of Journalists in the Philippines’ ‘Closed Eyes’ and Bayer Philippines’ ‘Strike’ and the Tinta Agency of the Year award.

‘Closed Eyes’, a campaign in the Philippine Daily Inquirer which acted as a remembrance and a call for justice for the 58 fallen journalists during the infamous Maguindanao massacres in 2009, also took home a Gold in the Integrated Print Campaign category.

The ‘Persistent Headaches’ campaign, which ‘Strike’ is a part of, took home three Golds in the Consumer Campaign category. Two-thirds of the campaign, ‘Hex’ and ‘Repair’, stood out in the Consumer Single Print Out category, bagging a Silver and a Bronze respectively.

The coveted Tinta Advertiser of the Year award went to Procter & Gamble Philippines for their Safeguard soap campaign done by Ace Saatchi & Saatchi which won two Bronzes and three Silvers.

“I think if we compare print advertising in the past five to 10 years, what we’ve seen today

is a huge improvement,” said Melvin Mangada, TBWA\Santiago Mangada Puno chief creative officer and Tinta Awards jury president.

Leo Burnett Manila shone in the CraftArt Direction category, winning a Gold for WWF’s ‘Sea Creatures - Shark’ and a Silver each for ‘Xerox Man’ and ‘Cook’, print ads for Coca-Cola Export Corporation.

Meanwhile, the ‘Samurai Hero’ series was recognized in the Consumer-Campaign category, nabbing two more Bronze metals.

Responsible for much of the social media buzz surrounding Filipino boxer Manny Pacqiuao, DDB Philippines’ ‘Pacquiao Positive’ campaigns were a blockbuster hit, garnering two Golds and one Bronze. The ‘Pacquiao Positive False Covers’ were also recognized for Special Print Media Execution, garnering a Gold metal, while the integrated campaign

March-April 2013

for Pepsico International’s Sting Power Pacq Energy Drink also garnered Gold.

Other Gold winners include Draftfcb Manila’s interactive integrated campaign for the Philippine Red Cross, ‘Help Japan’, and Seven A.D.’s ‘25th anniversary’ ad for Medicard Philippines.

More than 200 entries were submitted to the 3rd Tinta Awards and judging came down to 37 finalists.

“Chairing the Tinta Awards is an honor as well as an inspiration to me – to see how static print media has evolved and how this further has the potential to excite and interest our readers,” said Angel Guerrero, adobo magazine editor-inchief, originator and overall chair of the United Print Media Group (UPMG) Tinta committee.

With technology seemingly encroaching upon the print medium, “what we’re finding with Tinta is actually pushing us, challenging us to make the experience [that will help us] rediscover print’s relevance,” Joe Dy, jury member and JWT Manila creative director, said.

Dubbed “the toughest print show in the country”, the Tinta Awards was held at Buddha Bar, preceded by a two-day judging event held at bar-lounge.

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The Gold Winners

Craft Technical Category WWF Sea Creatures Campaign, ‘Shark’ Art Direction Leo Burnett Manila

Integrated Print Campaign Category Philippine Red Cross ‘Help Japan’ Draftfcb Manila

Newspaper/Magazine Print Campaign Category Saridon Campaign, ‘Hex’ BBDO Guerrero/Proximity Philippines

Newspaper/Magazine Print Campaign Category Saridon Campaign, ‘Repair’ BBDO Guerrero/Proximity Philippines

Newspaper/Magazine Print Campaign, Single Print Ad Categories, Grand Prix Saridon Campaign, ‘Strike’ BBDO Guerrero/Proximity Philippines

Integrated Print Campaign, Special Print Media Execution Categories Pepsico, ‘Pacquiao Positive’ DDB Philippines

Special Print Media Execution Categories MediCard, ‘25th Anniversary Ad’ Seven A.D.

Integrated Print Campaign, Special Print Media Execution Categories, Grand Prix NUJP, ‘Closed Eyes’ BBDO Guerrero/Proximity Philippines

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Snapshots

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04

05 06

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07

08 09

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10 11

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01 The BBDO Guerrero team revel with UPMG officers in their Tinta Agency of the Year and Grand Prix acclaim 02 UPMG President Ricky Alegre, Tinta Chair Angel Guerrero and former AdBoard director Alex Castro 03 TBWA\SMP wins in Art Direction for the Boysen Paints campaign 04 Tinta’s rare gold winner 05 Procter & Gamble wins Tinta Advertiser of the Year award thanks to the work of its agency Ace Saatchi & Saatchi 06 Tinta Awards jury 07 Leo Burnett’s chief creative officer Raoul Panes and another juror at work 08 A Silver for Amon + Maneze for the Philippine Daily Inquirer campaign 09 Leo Burnett wins Gold for the WWF Sea Creatures campaign 10 DDB Philippines Gold winners for their work on Pepsico’s Sting brand’s ‘Pacquiao Positive’ campaign

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it the high notes, adobo!

Congratulations on another milestone!

From the Philippines’ top supplier of music, sound and voice talent for advertising www.hitproductions.net

AD O BO 7 T H ANNIV ANNI V ER SAR Y

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ADOBO ANNIVERSARY

In the Beginning BIRTHING PAINS

Words Emarrah Sarreal

“I’m not a traditional publisher, I’m an ad person who’s passionate about the ad industry and I just want the stories of the greatness we do as an industry to be told.”

-Angel Guerrero The seeds for adobo magazine were sown long before that first issue hit newstands. Back then, Guerrero would make the rounds of international advertising award shows, contributing stories about said events to various broadsheets.

“But as you know, the newspapers can only give you so much space and there are so many stories everywhere I go. So it came to a point when I wished that everything I know would come out in print.”

Thus, the idea for a local publication with an international reach and coverage was born.

In the beginning, the magazine was only made up of three people, namely, Andrew Maluche as photographer and vice president; Cynthia Dayco, a former copywriter from Leo Burnett; and Guerrero, a former accounts manager at McCann Worldwide. ”

GOING GLOBAL

Small team notwithstanding, adobo’s direction from the outset was to give its local (Philippine) readers an unprecedented view of the regional/international advertising scene while, conversely, giving those outside the country an objective look at the Philippine industry.

In the publication’s first year, adobo made its way through the media partnership jungle, quickly establishing a presence at prestigious award shows such as ADFEST, Cannes Lions, London International Awards, New York Festival, etc. as a media partner.

As delegates to these international creative gatherings got the chance to lay hands on copies of the magazine, the number key creative people with their eyes on adobo grew ever larger.

When asked today about the problems encountered in bringing the magazine outside of the country, Guerrero laughs, saying, “There has never been a

problem with getting the magazine out, except maybe for the mailing costs.”

BRAND ADOBO

“We go beyond advertising; we celebrate things that will inspire creativity on many fronts.”

-Angel Guerrero

“No one thought that a trade magazine for advertising would flourish in the Philippines. In the past 50 years, I was told, a few tried but no one lasted, except for adobo magazine,” said Angel Guerrero, founder and editor-in-chief.

It’s been seven years since the maiden issue of adobo magazine saw print; with only 45 pages and radio maven Ompong Remigio on the cover, the first issue was a study in experimentation. “[At a radio workshop with Tony Hertz,] Ompong didn’t know she was being photographed for the cover,” recalls Guerrero. “We were just taking photos and we decided ‘okay, let’s pick this one!’”

Today, adobo’s page count hovers around the 200-page mark, serving as the trade publication to the Philippine advertising industry, offering insight and analysis on local, regional and global advertising, marketing trends and branding communications.

The covers have evolved as well; from BBDO top man Andrew Robertson and current Philippine Secretary of Tourism Ramon Jimenez to Steve Jobs, Manny Pacquiao and designer Kenneth Cobonpue, adobo’s public face has run the gamut of practitioners and creative power players, all shot by some of the finest lensmen in the business.

Indeed, this willingness to expand traditional notions of creativity was all part of the plan, according to Guerrero.

“The last few issues are significant ones for me, because they show that the magazine has evolved and is close to where I want to take it. It shows the present state and breadth of communications, broadcasting creativity in general – not just advertising.”

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From a lean and humble trade magazine, the adobo brand would embrace technology to spread its message, introducing online platforms, including an award-winning website, thrice weekly email newsblasts, and a daily SMS blast that bring the day’s headlines directly to the magazine’s readers and beyond.

Of course, if trade publication was all adobo aspired to, we probably wouldn’t be here seven years later.

Never intended to be just a magazine, adobo based on an ethos built around inspiring creatives. To that end, Guerrero and her would go on to introduce a series of events, seminars and courses that continue largely to this day, including the adobo Cup, an annual football tournament which pit players from different ad agencies; adobo Run After Dark, a Halloween night run which sees upwards of 2,000 participants every year; adobo Masterclass and Maincourse, two learning avenues where Philippine creatives can learn firsthand from internationallyacclaimed industry leaders; the adobo Design Awards, which rewards the freshest Filipino design talents; adoboLIVE, an online product where industry thinkers explain pressing industry issues to adobo’s online audience; adobo Books, providing print inspiration to creatives with a thought-provoking selection of advertising reference material; and adobo Nights, a bi-monthly industry networking night which coincides with the launch of the magazine.

As a brand, there is no limit to the opportunities and avenues by which the adobo brand can reach its intended audience. adobo’s successes are the industry’s, and as we continue ever on in to carve our niche in the regional creative community, the only thing certain is, after seven successful years, we’re just getting started.

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Issue #15 May-June 2008

PHP180

issue #14 Mar-Apr 2008

issue #13 Jan-Feb 2008

PHP180

PHP180

ARAW rises high for

THE ISSUE THAT GOES TO CANNES

INT’L WOMEN’S DAY ISSUE

2nd ANNIVERSARY ISSUE

J. Romero’s Young Creatives Make

BBDO GO THE PHILIPPINES’ NO. 1 CREATIVE AGENCY

20TH ADCON SPECIAL Asia’s Biggest (Secret) Ad Show

SAATCHI & SAATCHI SINGAPORE

THE LEAP OF FAITH

Asia’s No.1 Creative Agency CENTERFOLD: The Glamazon

From Boracay to Cannes

The Rage over Ratings The Creative Guild Gilds Boracay Creative Review

by Jonathan Kneebone The Glue Society IT’S AWARDS SEASON Cannes Lions, D&AD, Spikes & AdFest Entertainment Reviews Harry Mosquera Richie Quirino Simon Welsh The 2007 Agora Winners The Gunn Report FAREWELL Severino Alcantara Phil Dusenberry

THE ADFEST SPECIAL

Creative Guild Summit Special World Effie Festival 2008 Effective Creativity Wins the Day Profile Erik Matti CREATIVE REVIEW

by Linda Locke, Godmother Women in Power Entertainment Reviews Peachy Pacquing Marite Irvine

Earth Hour Honored

by Spikes 2008

Saatchi Singapore Is Asia’s No. 1

Creative Review

by Toby Talbot, DDB NZ

Special World Press Awards Recap

by Neil French PROFILE Andy Greenaway Hit Productions Roger Makak & Asia’s Creative Rankings ONLINE MEDIA REPORT The Power of Blogs The Filipino Web Diaspora

FAREWELL Paul Arden

The Superbowl Ad Review

THE ADOBO 2nd ANNIVERSARY PARTY

THE SUPERSIZED SHOWCASE

BANG FOR THE BUCK

by Prasoon Joshi

www.adobomagazine.com

The Cannes Lions Primer

Was a monkey the key to their success?

www.adobomagazine.com

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JB Bangoy and Gigay Quipanes are the PDI Young Lions

Issue #17 Sept-Oct 2008

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IN THIS ISSUE

AGENCY OF THE YEAR SPECIAL

THE CANNES LIONS SPECIAL

PROFILE Barry Munchik Dodie Lucas

PROFILE Yasmin Ahmad Leo Burnett Malaysia

BRANDS & BEIJING

GRAPHIKA MANILA

MAD ABOUT The Mystery of TV Production Costs

FAREWELL Henry Canoy Creative Review

by Adrian Miller, Saatchi & Saatchi Malaysia

Enlightenment Piyush Pandey

Awards, Awards, Awards D&AD, New York Festivals The One Show, The Clios

Creative Review

by Rowan Chanen, Y&R Asia

adobo PRINT PRODUCTION SHOWCASE

EVENTS MANAGEMENT SHOWCASE

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“100” QUESTIONS with Marlon Rivera & Chris Martinez

From Asia to the world MILES YOUNG Global CEO, Ogilvy Group

CREATIVE REVIEW

by Chris Chiu, Leo Burnett Singapore

DIRECTORS’ SHOWCASE

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BBDO Guerrero Catches Up

SPEAKS ABOUT THE COUNTRY’S 1st MEDIA LION

Change roars

UNITEL IN VIETNAM

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DM9 JaymeSyfu

Ad legends Mon and Abby Jimenez

2008 CREATIVE RECAP Kim Shaw Prasoon Joshi Andy Greenaway Danny Searle John Merrifield Andy Blood Tay Guan Hin Dave Ferrer Don Sevilla Leigh Reyes

Exclusive Paul Middleditch

Executive Musical Chairs Richard Irvine Jos Ortega and more

A Gracious Exit

TINTA AWARDS SPECIAL

World Chiefs Michael Maedel, JWT Tom Carroll, TBWA

World Marketing Conference

THE R WORD OUTLOOK 2009

CHRIS THOMAS BBDO ASIA-PACIFIC

MAD ABOUT: THE AD STANDARDS COUNCIL

MEDIA AOY AWARDS ADOBO ADS OF THE YEAR

KIDLAT! BORACAY PRIMER

DIGITAL SHOWCASE

OBAMA & SOCIAL NETWORKING

BANG FOR THE BUCK: ADIDAS OLYMPICS (CHINA)

MANILA MAD MEN

Issue #19 Jan-Feb 2009 Philippines P180 Indonesia IDR 100k Malaysia MYR 15 Singapore SGD 10 Hong Kong Thailand

KIDLAT SPECIAL

STEFAN SAGMEISTER

TIM MELLORS, GREY WORLDWIDE

ADFEST 2009: FIRST LOOK

NEW YORK FESTIVAL TELEVISION PROGRAMMING AWARDS

SCORCHIN’ SUMMER CENTERFOLD

ADOBO DESIGN AWARDS

REMEMBERING FRANCIS M

IT’S OUR ANNIVERSARY, BUT YOU GET THE PRESENT: A SCENOGRAPHER’S SHOWCASE FEATURING EDUARDO V. SICANGCO

MEDIA PILLARS: LISA GOKONGWEI BOY PANGILINAN BULLETIN’S TITA PAT PINEDA

Issue #20 Mar-Apr 2009 Philippines P180 Indonesia IDR 100k Malaysia MYR 15 Singapore SGD 10 Hong Kong Thailand

PINOY FOOD: KULINARYA PEGASUS LANDS IN MANILA

... AND A FULL PHOTO GALLERY FROM ADSPACE: ADOBO TURNS 3!

©Kodak, 2009. Kodak and Vision are trademarks.

2007 AGENCY OF THE YEAR

BB Gandanghari with the country's Cannes Young Lions bets, DentsuIndio's Peepo David and Kulas Abrenilla

3RD ANNIVERSARY ISSUE

Stefan Sonnenfeld

Melvin Mangada & TBWA\SMP

Vodka, votes, and vision: from Pandacan’s Riles to a global campaign

CANNES LIONS PRIMER ALL ABOUT ADFEST BBDO MALAYSIA’S RONALD NG & MUN SIR JOHN HEGARTY CHEIL TAKES ON THE WORLD

NIRVIK SINGH GREY ASIA PACIFIC PRASOON JOSHI ON SLUMDOG MILLIONAIRE ADOBO MAIN COURSE WITH AKIRA KAGAMI

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CREATIVE REVIEW

BY SHEUNGYAN LO JWT SHANGHAI

Brillante Mendoza

Cannes Film Festival’s Best Director

Issue #21 May-June 2009 Philippines P180 Indonesia IDR 100k Malaysia MYR 15 Singapore SGD 10 Hong Kong Thailand

OUR MAN IN CANNES DAVE FERRER

THE CANNES LIONS SPECIAL TWO BRONZE LIONS FOR MANILA THE DEATH OF THE DIGITAL CAMPAIGN

GOAFEST

MAD ABOUT RECESSION MARKETING

NO ONE SELLS LIKE MANNY PACQUIAO

CAMPAIGN BRIEF ASIA PHILIPPINE RANKINGS

BANG FOR THE BUCK: PETRONAS “TAN HONG MING”

AWARDS, AWARDS, AWARDS: THE ONE SHOW, CLIOS AME, EFFIES, D&AD

GUNN REPORT 2008: THE TEN-YEAR REPORT

SPECIAL SUPPLEMENT: DIGITAL SHOWCASE

Issue #22 July-August 2009 Philippines P180 Indonesia IDR 100k Malaysia MYR 15 Singapore SGD 10 Hong Kong Thailand

Neil French

Design Legend Stefan Sagmeister

His über-creative life away from agencies and New York BBDO GUERRERO / PROXIMITY PHILS. IS AGENCY OF THE YEAR BANG FOR THE BUCK: BURGER KING “WHOPPER FREAKOUT” NIELSEN HALF-YEAR REPORT

MANILA DESIGN WEEK

5/21/09 7:06:44 PM

MANILA DESIGN WEEK NEW YORK FESTIVALS GOES TO MANILA

CORY’S LAST MARCH MEDIA IN MOURNING

SPIKES ASIA 2009 PRIMER

MAD ABOUT: SKIN CARE ADS

SELLING THE PHILIPPINES TO FILIPINOS AND THE WORLD

SPECIAL SUPPLEMENT: NON-TRAD SHOWCASE

Issue #23 Sept-Oct 2009 Philippines P180 Indonesia IDR 100k Malaysia MYR 15 Singapore SGD 10 Hong Kong Thailand

SPIKES ASIA, SUPERSIZED The Filipinos’ best year ever

ng is a His award-winni Thailand A flood of compassion of the Fallen rs 2: Revenge refuses to compromise.

Sonnenfeld Stefan and Trek and Transforme at kodak.com /go/motion creativity such as Star and others and features his stories that. Hear testament to

CREATIVE RECAP 2009

AWARD SHOWS SAY NO TO SCAM

THE 21ST ADCON PRIMER

THE VERY BEST 0F 2009

ADOBO WINS AT PHILIPPINE QUILL AWARDS

BANG FOR THE BUCK “THE BEST JOB IN THE WORLD”

0609 COVERSPREAD.indd 3

March-April 2013

Film back to film. are coming easy to why people makes it so Which is probably latitude, which that’s le exposure me an image has incredib And it gives saves time with on set. with — which light and work ion to start from HD color informat everything on makes loaded with Issue #24 Considering all unmatched resoluti amazing.

Nov-Dec 2009 look in post. The web Philippines P180 an unproven spots on the you, why add transfers to 100k l. on throws atIndonesia IDR s a producti just beautifu Malaysia MYR 15 the surprise man. It’s Singapore SGD 10 the mix? Film, WE WANT MORE DROGA workflow AFTERinto ONDOY Hong Kong work on commercials

A long hard talk with the godfather of advertising

WHO’S THE MOST CREDIBLE ENDORSER IN TOWN? It’s not who you think TEAM TEENY EXITS DDB

© Kodak, 2009. Kodak and Vision are trademarks.

Colorist. Entrepreneur. Fanatic.

TBWA\Santiago Mangada Puno Reclaims the creative leadership at the ARAW Awards MANAGING DIRECTORS’ 2010 OUTLOOK EXCLUSIVES: Efren Peñaflorida James Lafferty Kentaro Kimura 2009 MEDIA AOY AWARDS

10/27/09 2:36:20 PM

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2010 ADFEST PRIMER MARK INGROUILLE LEAVES McCANN

CREATIVE REVIEW: Joel Clement Saatchi & Saatchi Thailand

Issue #25 Jan-Feb 2010 Philippines P180 Indonesia IDR 100k Malaysia MYR 15 Singapore SGD 10 Hong Kong Thailand

TIGER LOSES HIS CLAWS THE CANNES REPORT 2009 LILIT JOINS DDB; TEENY FORMS SEVEN A.D.

SPECIAL SUPPLEMENT 21st Philippine Advertising Congress 1/5/10 3:35:53 PM

SP E C IAL R E PO R T

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©Kodak, 2010. Kodak and Vision are trademarks.

AD O BO 7 T H ANNIV ANNI V ER SAR Y

Joaquin Baca-Asay Director. Cameraman. Realist.

Stefan Sonnenfeld

Film back to film. are coming easy to why people makes it so Which is probably latitude, which that’s le exposure me an image has incredib And it gives saves time with on set. with — which light and work ion to start ng from HD color informat on makes everythi loaded with all Considering unmatched resoluti in post. The web look amazing. add an unproven spots on the why to s you, Issue at #26 transfer on throws beautiful. s a producti Mar-Apr 2010 the surprise man. It’s just P180 the mix? Film, Philippines workflow into Indonesia IDRng100k work on commercials His award-winni Malaysia MYR 15of the Fallen is a rs 2: Revenge refuses to compromise. Singapore SGD 10 /go/motion Stefan Sonnenfeld as Star Trek and Transforme at kodak.com ADFEST Postponed! such others andHong Kong and features his stories that. Hear Thailand testament to

David Droga

© Kodak, 2009. Kodak and Vision are trademarks.

Colorist. Entrepreneur. Fanatic.

“THERE HAVE BEEN PROJECTS WHERE I WOULD’VE BEEN SCREWED IF I’D SHOT DIGITAL.”

The Philippine Young Lions get ready for Cannes

THE HUNT FOR GOLD KIDLAT AWARDS 2010

SUPER BOWL AD REVIEW

2010 PRESIDENTIAL MARKETINg

AGENCY PROFILE Jeh United

McCann’s Dooner hands the reins to Nick Brien

PROFILE OF A LEgEND Meckoy Quiogue

JWT’s Top 10 Trends of 2010

gUNN REPORT 2010

2010 KIDLAT PRIMER

CREATIVE REVIEW Steve Elrick, BBH Singapore

EXCLUSIVE Patricians of Print

SPECIAL SUPPLEMENT Print Publications Showcase

MAD ABOUT The Independent Life

al work, erci comm anything His in do 3-perf or 2-perf se. can /joaqu romi en he budgets? We’ll shoot digital. /go or less than shooting to comp prov ak.com has ses it’ll cost the same it. refu Volvo at kod is always worth ures Shooting on film Pict ica, and n more Lear Park of Amerfilm. y of Bank -Asa EF, here, with Baca UNIC uin anyw for Joaq

Best Ad Schools in the World CREATIVE REVIEW Juggi Ramakrishnan, Ogilvy & Mather Asia

Cannes Lions Primer

Presidential Marketing 2010

Neil Gaiman PHOTOGRAPHY EXCLUSIVE Anuchai Secharunputong

Oscars & Advertising

BANG FOR THE BUCK Teach India, JWT India

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DDB DM9 JAYMESYFU COMES OUT ON TOP

As Campaign Brief Asia’s Philippine Agency of the Year 2010 CANNES LIONS FESTIVAL

WORLD CUP SPECIAL

2009 CAMPAIGN BRIEF ASIA CREATIVE RANKINGS

AGENCY PROFILE Ace Saatchi & Saatchi

PROFILE Mike Schalit, Net#work BBDO

GLOBAL / AWARDS

POST-ELECTION ANALYSIS

CREATIVE REVIEW Dirk Eschenbacher, Tribal DDB, Asia Pacific

THE SECOND COMING OF PRINT

MAD ABOUT Personalized Mass Media

PHOTOGRAPHY SHOWCASE DIGITAL SHOWCASE

___ Php 180

___ A magazine on Advertising, Design, & Brand Communications.

SPIKES ASIA FESTIVAL 2010

BEST OF 2010

ADOBO CREATIVE RANKINGS

MOST INFLUENTIAL 2010

PROFILE Lee Meily Paul Suarez

MAD ABOUT The Role of Creative Directors

LOCAL 01

Tinta Print Awards

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Paul Roebuck Returns to Saatchi & Saatchi

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Yahoo! Year in review 2010 CREATIvE REvIEw: MASAkO OkAMuRA

DIRECTORS’ SHOWCASE BANG FOR THE BUCK Yellow Pages “Yellow Chocolate“

REGIONAL

GLOBAL

AGENCY PROFILE: BBH ASIA PACIFIC ADFEST 2011 Primer Matthew Godfrey

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PROJECTIONS 2011

02

Bruce Haines

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The Conversion of Alex Bogusky and Thirasak Tanapatanakul

WINS BEST OF SHOW AT ASIA-PACIFIC ADFEST

MANILA DESIGN WEEK 2010

7/20/10 4:54:31 AM

___ www.adobomagazine.com

CREATIVE REVIEW Victor Ng

Levi Strauss and BBH end iconic 28-year relationship

EXCLUSIVE John Sayles

FROM GOD TO COMMONER

Philippines Indonesia Malyasia Singapore Hongkong Thailand

Issue 32 March - April 2011

P180 IDR 100k MYR 15 SGD 180

Eugene Cheong

AGENCY PROFILE DM9 JaymeSyfu Ace Saatchi & Saatchi’s Vespa campaign rides into The Gunn Report

PROFILES Lucille Tenazas Tenazas Design Carlo Directo, Film Pabrika

22nd AdCon goes to Camsur

Mark Nicdao Wild Bunch Photography

THE ALWAYS-ON STRATEGY

Alfonso Rodes, Havas Media

THE FIERY FIVE The hottest on adobo’s list CREATIVE REVIEW Richar Copping Ogilvy & Mather Asia Pacific

Philippines Indonesia Malyasia Singapore Hongkong Thailand

P180 IDR 100k MYR 15 SGD 180

THE CENTENNIAL TEAM

SUPER BOWL XLV

Nestlé Philippines Inc., Publicis Manila and Zenith Optimedia

___ A magazine on Advertising, Design, & Brand Communications.

ADOBO CREATIVE RANKINGS 2010 NO.1

When the world zigs, he zags

2/1/13 2:08 PM

3/14/11 9:51 PM

___ www.adobomagazine.com

___ A magazine on Advertising, Design, & Brand Communications.

SIR JOHN HEGARTY

Issue #29 Sept-Oct 2010 Philippines P180 Indonesia IDR 100k Malaysia MYR 15 Singapore SGD 10 Hong Kong Thailand

Alex Bogusky leads Fearless consumer revolution Issue 31 January - February 2011

Jarek Ziebinski

___ www.adobomagazine.com

PROFILE Ernie Lopez Cheuk Chiang Jonathan Tay

___ A magazine on Advertising, Design, & Brand Communications.

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___ A magazine on Advertising, Design, & Brand Communications.

2010 SPIKES ASIA PRIMER

BANG FOR THE BUCK Gatorade “Replay”

AGENCY PROFILE Publicis JimenezBasic

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___ www.adobomagazine.com

ADFEST 2010

2010 TAMBULI AWARDS

Y&R Global Chief Creative Officer Tony Granger Issue #30 Nov-Dec 2010 Philippines P180 Indonesia IDR 100k Malaysia MYR 15 Singapore SGD 10 Hong Kong Thailand

ACE SAATCHI & SAATCHI RIDES HIGH ON VESPA 2009 PHILIPPINE AGENCY OF THE YEAR

5/22/10 9:11:05 AM

LEADING A CREATIVE RENAISSANCE

WORLD’S #1 DIRECTOR GUNN REPORT 1999-2009

Issue #28 Jul-Aug 2010 Philippines P180 Indonesia IDR 100k Malaysia MYR 15 Singapore SGD 10 Hong Kong Thailand

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THANONCHAI SORNSRIVICHAI: INSIDE THE MIND OF THE

CREATIVE REVIEW Calvin Soh, Publicis Asia

light take to Hong MADhalf ABOUT Kong Worried the time it would with the actors.

Thailand twice as much time Education Creative bet get Directors and we’ll or 16 mm. And I

PROFILE Mun Tuck Wai Sonal Dabral

___ www.adobomagazine.com

AGENCY PROFILE Lowe Philippines

Issue #27 May-June 2010

setups, Philippines P180 get you 30% more I’ll IDR of digital, Indonesia 100k and half the lights, If I shoot film instead use 15 MalaysiaI’llMYR it’ll look better. crew I just will. And Singapore SGD 10take half the it. It’ll about

Leo Burnett’s JP Cuison & Niño Gupana; BBDO Guerrero / Proximity’s Tim Villela & Rizza Garcia

The creative genius that’s changing advertising

STEVE JOBS

The man who changed the game

Melvin Mangada, TBWA\ Santiago Mangada Puno

Issue 34 July - August 2011

CANNES LIONS FESTIVAL 2011

AdCon 22 updates

David Ogilvy 100

PROFILES Ricki Arches Marcela Gutierrez Miquel Polidano

D&AD Awards AGENCY PROFILE Leo Burnett Manila Graphika Manila

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CREATIVE REVIEW Patrick Tom TBWA\ Vietnam

The Philippine Star shines Silver So You Want to Enter an Ad Agency

Philippines Indonesia Malyasia Singapore Hongkong Thailand

P180 IDR 100k MYR 15 SGD 180

MAD ABOUT The RH Bill

Issue 36 November - December 2011

Issue 35 September - October 2011

ADOBO CREATIVE RANKINGS

IMMAP SUMMIT 2011

SPIKES ASIA 2011 PRIMER

PROFILES Thirasak Tanapatanakul Carla Echevarria Shiela and Mike Dela Cuesta Poch Bermudez

SINGAPORE

AD STARS BUSAN 2011

THE DIGITAL SPECIAL

DIGITAL

AGENCY PROFILE AKQA

DIGITAL SHOWCASE 2011

MOBILE MARKETING FORUM

MAD ABOUT CREATIVE REVIEW Ant Keogh Executive Creative Director Clemenger BBDO Melbourne

Philippines Indonesia Malaysia Singapore Hong Kong Thailand

P180 IDR 100k MYR 15 SGD 10

SPIKES ASIA 2011

4AS-P AGENCY OF THE YEAR

GAME CHANGERS

AGENCY PROFILE Campaigns & Grey

CREATIVE SHOWCASE Best Campaigns of 2011

PROFILE Michael Wall

CREATIVE REVIEW Yang Yeo JWT Shanghai

BANG FOR THE BUCK Pay with a Tweet

INSIGHTS Neil French Chris Foster

ADCONGRESS22 PRIMER

Mediocrity

Philippines Indonesia Malaysia Singapore Hong Kong Thailand

P180 IDR 100k MYR 15 SGD 10

MAD ABOUT

7/20/11 12:46 PM

Cover gallery

7 years, 44 covers; a journey from the past to the present of adobo Magazine’s covers.

March-April 2013

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S P E C I AL REPORT

ADOB O 7 T H ANNIV ER SAR Y

Centerfold and Trendspotting gallery 01 Ompong Remigio Centerfold 0307, 02 Richard Irvine Centerfold 0407, 03 Merlee Jayme Centerfold 0507, 04 Susan Dimacali Centerfold 0607, 05 Angel Guerrero Centerfold 0108, 06 Matec Villanueva Centerfold 0208, 07 Andong Agimat Centerfold 0308, 08 Tina Cos Centerfold 0408, 09 Lorna Tabuena Centerfold 0508, 10 Contenders Centerfold 0608, 11 Manila Mad Men Centerfold 0109, 12 Boracay Admen Centerfold 0209, 13 Team Manila Centerfold 0309, 14 Brillante Mendoza Centerfold 0409, 15 Leigh Reyes Centerfold 0509

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Scorchin' The future's so bright

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TEAM MANILA

Inspiring Manila’s Visual Culture www.teammanila.com

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Photography: BAHAGHARI Richard Atrero de Guzman BWP. http://www.lightstalkers.org/bwp Fashion Styling: Millet Arzaga Hair and Makeup: Mariel Gamon, Raffy Nicodemus and Carstein Rubio of Victor Ortega Salon, Boracay Special thanks to Jose Pareno Jr., Gemma Batoon, Frances Maniquis and Randy Salvador Shot on location at Discovery Shores Boracay Island.

Yes, the cloud is real and unretouched.

adobomagazine

March-April 2013

Chino Jayme Copywriter, McCann Worldgroup Philippines

AD Hunter Account Manager – BBDO Guerrero

Kidlat winner for “I Am Ninoy," Gold 2009 and A1 Driving School Radio Campaign “Rhymes”, Bronze 2008. This art buff whiles away his time with video games and road trips, burping the alphabet as he goes. As The Stones sing, “it’s a gas, gas, gas.”

The cool chick is a killer on bass. Fans, groupies, name it, AD’s got them. She matches wits with fervor honed by years of competitive sports. You’d never guess she’s a Suit.

On Chino: Diesel Shirt, DKNY shorts, and A/X Armani Exchange slippers.

On AD: Wahine swimsuit at Rustans.

SP E C IAL R E PO R T

AD O BO 7 T H ANNIV ANNI V ER SAR Y

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16 Atom Henares Centerfold 0110, 17 Sandy Prieto-Romualdez Centerfold 0210, 18 Young Creatives Centerfold 0310, 19 Andrew Petch Centerfold 0410, 20 Raoul Panes Centerfold 0510, 21 Lyle Sacris Centerfold 0610, 22 Marlon adobocenterfold Rivera Centerfold 0111, 23 Jetsetters Centerfold 0211, 24 Don Sevilla III Centerfold 0311, 25 Tonypet Sarmiento Centerfold 0411, 26 Herbert Hernandez Centerfold 0511, 27 Pauline Lao Centerfold 0611, 28 Lakihan Mo Logo Trendspotting 0111, 29 The Collective Trendspotting 0211, 30 Young Surfer Trendspotting 0311

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21 PREPARE TO GET SCHOOLED

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Growing up in an increasingly competitive environment, today’s young creatives set out to prove that they can score high marks with mentors, clients and award juries. adobo presents the Philippines’ next generation of advertising stars.

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Raoul Panes Executive Creative Director Leo Burnett Manila

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LOCAL NEWS

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LOCAL NEWS

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KIDLAT AWARDS 2010

Marlon Rivera President and Chief Creative Officer,

He is also a writer, director, stylist, makeup artist, film producer and fashion

at Philippine Fashion Week since 2009.

He works as the creative director of the

Whether in the theater, on the runway or inside the board room, Marlon knows

Publicis Manila

designer. For him, strategy is key.

Sunday afternoon variety show Party Pilipinas since the second half of 2010.

the right moment to elevate the level of performance. Consider it a strategic

Fresh out of college in the 1980’s, Marlon Rivera was a theater person who wore

He speaks of his unabashed love for show business and the fulfillment he

He may no longer be as hungry for

black and grew his hair long. Two decades later, he is an ad agency chief.

finds as a teacher at the University of the Philippines. He has been a fixture

awards as he was in his youth, but the lure of the stage is still as strong .

KIDLAT AWARDS 2010

ADOBO CENTERFOLD 71 LOCAL NEWS

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Cannes, Clio, Best Costume at 2002 Christmas Party SUMMER COOLER: Kelvinator SUMMER GETAWAY:

time doing what they love most – jetsetting to the nearest Asian shopping capital, getting lost in unchartered territories and literary pieces, or lounging on their favorite beaches.

move.

AdObO CENtErfOLd 67 LOCAL NEWS

KIDLAT AWARDS 2010 1

When they’re not busy crafting the country’s award-winning ads, these creatives from the upper register of the adobo Creative Rankings spend

Joe dy BBdo Guerrero / proximity philippines Head of copy / creative director TOP 3 AWARDS:

Hong Kong SUMMER MUST-HAVE: Extra-shirt! (electromagnetictentacleblogspot.com)

Some would sit in front of an electric fan (and render a faux auto-tune song), guard themselves from mosquitoes, play consoles games and enjoy either a cool drink.

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But that would be on simple summer days. On those that require a bit of dressing up, these down-to-earth creative heads are seen clinking their bottles in local and international

BRandie Tan

AME SUMMER COOLER: Neon Blue SUMMER GETAWAY: The beach of my apartment’s pool

awards – toasting to their latest wins or just having plain fun.

SUMMER MUST-HAVE: A travel guide to somewhere I haven’t been to. And be there.

Halo-Halo + Alaska Evap + Jack Daniels SUMMER GETAWAY: Bagasbas SUMMER MUST-HAVE:

SUMMER COOLER: Ice-cold Happy Drink :) SUMMER GETAWAY: The beach!

SUMMER MUST-HAVE:

3

RayMund SiSon BBdo Guerrero / proximity philippines

4

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copywriter TOP 3 AWARDS: Cannes, Araw, Kidlat and Mister Pogi Baranggay San Jose Zone 5678910 SUMMER COOLER: Nothing beats our very own halo-halo.

SUMMER GETAWAY: Trip to my fridge SUMMER MUST-HAVE:

alvin TecSon leo Burnett Manila creative director TOP 3 AWARDS: WWF Earth Hour “Stickies” (D&AD), McDonald’s “Counting

5

Sheep” (D&AD) SUMMER COOLER: Tubig lang (water only) SUMMER GETAWAY: Jack TV

Wayfarers

Sennheiser HD 25

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BBdo Guerrero / proximity philippines executive creative director TOP 3 AWARDS: Gold Lion, Gold Lotus, Gold

creative director TOP 3 AWARDS: Jayne. Gaby. Sam. SUMMER COOLER:

Maki MaquilinG Seven a.d. creative director TOP 3 AWARDS: Gold Araw, Silver Araw, Bronze Spikes

MaRio SeRRano lowe philippines

Asian Marketing Effectiveness SUMMER COOLER: Coleman?

SUMMER GETAWAY: Palawan

SUMMER MUST-HAVE: Sleep

dale lopez

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TBWa\Santiago Mangada puno art director for design TOP 3 AWARDS: Cannes Lion, Spikes, NYF SUMMER COOLER: mojitos or self made yogurt

SUMMER GETAWAY: Boracay SUMMER MUST-HAVE: Extra-shirt!

rosewater ice cream SUMMER GETAWAY: my room and imagination!

SUMMER MUST-HAVE: a new camera lens

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Mela advincula leo Burnett Manila

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creative Team Head TOP 3 AWARDS: Cannes Young Lions Silver,

LOCAL NEWS

KIDLAT AWARDS 2010

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D&AD In-Book, Cannes Lions SUMMER COOLER: Iced Double Caramel Macchiato SUMMER GETAWAY: Hong Kong SUMMER MUST-HAVE: Shades

SUMMER MUST-HAVE: A plan and a ponytail

deniSe Tee

BBdo Guerrero / proximity philippines creative director TOP 3 AWARDS: Cannes, Clio, OneShow SUMMER COOLER: San Miguel Pale Pilsen

Tin SancHez BBdo Guerrero / proximity philippines executive creative director TOP 3 AWARDS: Gold Lion, Gold Lotus, Gold in

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Manuel villafania TBWa\Santiago Mangada puno creative director TOP 3 AWARDS: Cannes, Spikes, SUMMER COOLER: Lychee Martini and Mojitos SUMMER GETAWAY:

Photographer: Niko Villegas for Edge of Light (for Nikon D3s) / Make-Up Artists: Harold Santos (Maybelline New York), Claire de Guzman (L’Oreal Paris Cosmetics) / Hair: DOnald Lapez (Creations by Lourd Ramos) / Stylist: Aisa Ipac / Shot at Elite Manila Studios

Palawan SUMMER MUST-HAVE: Aviators

A cool head

Photographer: Mark Nicdao / Hair and Make-up: Ricci Chan and Jay Lozada Shot at DPI XL Studios www.adobomagazine.com

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Behind the Media Curtain TRENDSPOTTING

LAKIHAN MO LOGO

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TRENDSPOTTING

For 17 years, Pauline Lao has been the invisible force behind some of the country's most successful media campaigns. She is a media innovator extraordinaire, gifted with creativity and foresight when it comes to pulling the right strings to help her message come across. Whether in print or on TV, radio or digital, all-out budget or close to none—from Procter & Gamble to Jollibee Foods Corp.—she has time and again mapped out her company's journeys across the ever-evolving media landscape. “It's not about lording over media. It's more of knowing your audience, listening to your customers, and learning which medium best communicates our ideas,” said Pauline.

THE COLLECTIVE

Beyond the media curtain, she also reigns supreme as a wife and mom to a brood of five (including twins).

And with that Pauline stays true to of being queen of all media, queen of life.

TRENDSPOTTING www.adobomagazine.com

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September - October 2011

September - October 2011

www.adobomagazine.com

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Photographer: Dindo Villaester Stylist: Aimee Velasco Hair and Make Up Artist: Matt Marcial and Miko Iso (Ix Chel Style)

www.adobomagazine.com November 2011 Location: Tin Hau Restaurant at the Mandarin Oriental- December Hotel

November - December 2011

www.adobomagazine.com

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“Lakihan Mo Logo” began rocking the advertising world in January 2010. Albeit young, the desire to build a platform of expression beyond their typical work days in their respective shops drove young advertising

for the Philippine Cannes Lions representatives and another benefit gig for CRIBS Foundation. They look forward to having a portfolio night for fresh graduates to have the chance to showcase their work

01 James Bernardo (Ogilvy) Sid Luzentales (Mccann) Dale Lopez (BBDO Guerrero) Bogey Bernardo (Ace Saatchi & Saatchi)

TRENDSPOTTING

Illustration: Dan Matutina

March-April 2013

Apol Sta. Maria (DM9 JaymeSyfu) Rio Vargas (Lowe) Gorgoro (Leo Burnett) Rey Tiempo (BBDO Guerrero)

Coined as the hub of pop art graffiti, vinyl dolls, quirky but stylish designs, and good food, The Collective brings all things artsy into the heart of Makati City. Built on a place where foot traffic consists of people who draw, write, sing, dance, or be themselves for a living, the place is a maze of little shops with big attitudes.

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TRENDSPOTTING

THE DO-GOODERS

31 Culinary hobbyists Trendspotting 0411, 32 Runners Trendspotting 0511, 33 Admen Do-Gooders Trendspotting 0611, 34 Rob Cham Centerfold 0112, 35 Denise Tee Centerfold 0212, 36 Brandie Tan Centerfold 0312, 37 Rey Tiempo and Gary Amante Centerfold 0412, 38 Blen Fernando Centerfold 0512, 39 Leah Besa-Jimenez Centerfold 0612, 40 Dancers Trendspotting 0112, 41 Women in Advertising Trendspotting 0212, 42 Cannes Young Lions Trendspotting 0312 43 Footballers Trendspotting 0412, 44 Directors Trendspotting 0512, 45 Cyclists Trendspotting 0612,

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KIDLAT AWARDS 2010

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adobo CENTERFOLD

Brandie Tan Executive creative director Lowe Malaysia

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Thirasak "Guy" Tanapatanakul Worldwide Chairman, Creative Juice Thailand www.burgbarnburi.com Self-sufficiency and going back to the basics is at front and center of Thirasak's Burg Barn Buri or Village of Joy. The five-acre facility for his pet project is a place where people grow organic rice, herbs, and vegetables, raise fish, and make energy from nature - all as they build a huge natural playground away from materialistic urban sensibilities. Over 400 families have already experienced this way of living, including his young son who inspired the entire project by freaking out over a must-have gadget.

TRENDSPOTTING

The Do-Gooders Meaningful Creativity

adobo cenTerfold

Photography Filbert Kung Styling Charmaine Palermo Make-up Precious Medina Wardrobe Charina Sarte Hair Arvie Matibag Jr. Necklace Adante Leyesa, Myth 3D models 3D Warehouse Rendering Mel Patrick Kasingsing Final artist Manny Vailoces Coordinator Denise Galoyo Art direction Lowe Philippines

A persistent pair Gary Amante and Rey Tiempo are a quiet pair; even when they’re brainstorming, the only thing loud about them is the rock star haircuts that make their latenight silhouettes on the office walls hard to ignore. That, and the clanking of metal that they’ve hauled into BBDO Guerrero.

For the last five years, the pair have been consistent winners in shows like Cannes, D&AD, Clio, the London International Awards, the AWARD awards, Spikes and Adfest.

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Their campaigns may work magic on your brand, but outside of advertising, Asia’s highly-regarded and respected creative leaders show that there is more to life than building award-winning campaigns. They give back to society – using their talent, time, and resources to help push noble causes in their own, unique ways. . Here are adobo’s do-gooders: four amazing admen whose buttery core and steely resolve bring them one step closer to changing the world.

www.adobomagazine.com

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TRENDSPOTTING

Lights, Camera, Admen!

TrendsPoTTing

Over the past few years, the number of industry professionals with portfolios and reels reflecting experience in both film and advertising has been on the rise. Indeed, a glance at the credits of everything from blockbusters like “Babae Sa Septic Tank” to indie darlings like “Ang Pagdadalaga ni Maximo Oliveros” reveals names that would be right at home in an advertising trade magazine. With digital filmmaking becoming ever more cost-efficient, the number of practitioners with a foot in both worlds is only going to increase. For this month’s Trendspotting, adobo gathered six creatives whose work keeps audiences enthralled in and out of the cinema. Unaccustomed as many of them may have been to be in front of the camera, the shoot was so much fun for everyone involved, we almost didn’t have the heart to tell them when it was a wrap.

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There’s no blood or gore but plenty of sweat and occasional tears.

For creative tenderfoots, the annual Cannes Young Lions Competition is a make or break deal, a Hunger Games of sort.

This year’s batch of Philippine Tributes will be heading to the Capital for the coming clash of creative might armed with nothing more than their imagination, fresh minds, tech skills, and open eyes and heart. Their opponents will be just as young, just as hungry.

But packed away in their heads will be the hours of invaluable and rigorous training provided by their mentors, a few of whom have been victors themselves.

It’s fair to say the six Tributes also leave bearing a heavy burden. Local hopes are high for a repeat of last year’s golden performance. For the sextet though, it will be about staying focused amid the clutter and distractions of the arena – the fragmented world of modern advertising – and keeping their eyes on the Lions.

AdoboMarchApril2012_02.indd 79 November - December 2011

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Football frenzy In the art of war, the smallest variable can tip the odds in any number of unlikely directions; weather, temperament of the combatants, interference and even the manner in which

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equipment is prepared can be the determining factor separating victory from defeat. On the battlefield for Philippine media supremacy, the variables are just as volatile, and there are heroes on all sides.

Here, for the first time, adobo has assembled a

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ADOB O NIG HT S

Adobo Nights

Sub Zero

adobo ushers in 2013 with a night to cheer and chill out Words Emarrah Sarreal Photography Shampoo Padilla

MANILA adobo Magazine ushered in 2013 with its first party of the year, Cheers and Chill, at the Imperial Ice Bar on the Fort Strip. The industry’s best and brightest came together at Manila’s latest hot spot to get sneak previews of adobo’s upcoming signature events, including the highly-anticipated adobo Cup football tournament and adobo Design Awards celebrating creative excellence.

Guests were also able to experience the latest attraction for adventurous partygoers: An actual ice bar that lets patrons savor Russian Standard’s

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Imperial Vodka the way it’s meant to be – in -5 degree Celsius temperature.

Thanks to a specially constructed room where the bar, tables, seats, décor and shot glasses were sculpted out of ice, guests were treated to a new way to chill.

Hosted by Stephen Ku, Paolo Enrile and the rest of the Jive Crew, entertainment was provided by DJ Euric and DJ Kerwin Yu, whose pulsating beats kept the crowd on their feet as Manila Beer flowed freely from the open bar.

With a whole year’s worth of exciting events lined up, adobo Magazine, the word on advertising, got 2013 off to a rousing start.

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SP E C IAL R E PO R T

AD O BO NI GHT S

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01 Wall-to-wall people at Imperial Ice Bar 02 Industry heavyweights Alex Syfu of DM9JaymeSyfu and Ricky Alegre of Business Mirror flank adobo Magazine’s COO Janelle Squires 03 The TBWA\SMP team led by Marci Reyes 04 Max’s Chicken group CEO Robert Trota with wife Rica Tamesis-Trota (center) with friends L-R Mike & Charmaine Lagman, Kaye Termulo-Garcia and Bea Lucero Lhuillier 05 Enjoying the sub-zero temperature in the ice room. L-R Smart’s Leah Besa-Jimenez, Janelle Squires, Hot Air Balloon’s TJ Parpan, adobo’s Apple Manansala, E-Learning Edge’s Hans Roxas Chua and Hot Air Balloon/Gondola’s Jojit Alcazar 06 Y&R’s Herbert Hernandez and GroupM’s Cynthia Dayco with Janelle Squires 07 Resorts World’s Joy Andrade and Archie Nicasio 08 Fun amidst cocktails 09 BBDO Thailand’s CCO Suthisak Sucharintanonta, BBDO Asia boss, Chris Thomas, BBDO Guerrero’s David Guerrero and adman-about-town Manny Del Rosario 10 adobo Nights with Chris Thomas, chairman BBDO Asia, and Richard Fraser, regional MD of Proximity! 11 Apple Manansala with Sheila Paul (centre) and the rest of the TV5 team 12 Flavored Russian vodka on tap

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RE G UL ARS

l ogic & mag ic

BONG OSORIO

Logic & Magic

Looking for opportunity makers A good brand persona creates opportunities. With the Philippine midterm election process in full swing, it makes for an interesting exercise to observe whether or not those aspiring for political office will demonstrate good judgment in establishing themselves as the brands necessary to deliver clear platforms and intentions to the voters at large. A battery of questions can be asked of them. Start with, what is his (or her) single greatest asset as a political candidate? Is it a sterling record, servant leadership mindset, team play, productivity, charisma, empathy or individual intelligence? How does his persona reinforce his political brand?

What we are bearing witness to now is a battle of political brands. Most are expected to spend big bucks to buy advertising time and space to get themselves known, recalled, and preferred. Advertising is a powerful, albeit, expensive, implement in generating the desired result. There are those who use the supremacy of advertising early on, while there are those who procrastinate, only to play catch-up in the last few weeks of the campaign period.

Visibility is the trademark of political campaigning, hugely manifested in numerous candidates’ merchandising tactics. Without a doubt, branding reinforced by the magic of advertising and sustained media presence will be key in capturing a coveted Senate seat.

As you get hit by the advertising taglines of wannabe senators and congressmen, several questions should cross your mind as you watch: What is the image being projected? What aspects of the candidate’s communication are most compelling? How do the respective ads score in terms of clarity, relevance and interest?

The answers to these queries can be compared and cross — tabulated to see who among them stands out. The list of mental questions may initially appear too cerebral or scientific, but that’s how the evaluation should

go. There is a fun part to this exercise though.

Check the elements of execution – is the jingle viral, is the selling proposition unique and memorable, is the talking head sincere and credible, is the dramatization believable, is the overall mood and tone empathetic, is the brand character warm and connecting?

Some contenders are utilizing the “halo effect” of their established political names, making for numerous cases of the dreaded “dynasty”, family members all vying for office, regardless of qualifications or actual ability.

Then there are the tandems: Brother-sister, an aunt-nephew or a father-son tandem can all be found on the upcoming ballots. It cannot be disputed that borrowed interest and the power of association are alive and well.

Then there are the celebrities.

Movie star candidates have individual trademarks, with their own particular brandings. More often than not, these will emanate from a combination of the candidates’ respective celluloid careers and

(alleged) leadership experiences. They have the advantages of name recall, familiarity and experience, making for brand equity that can easily be translated to actual votes.

Good branding does three things for the frazzled electorate. It saves time, projects the message (rightfully or wrongfully) and provides an identity for individual contenders. To even the casual observer, branding lessons can already be gleaned from the initial salvo of political ads we’re being subjected to. Foremost among these is that everyone is their own brand and, just as with any brand, all the time and care taken to build it up is meaningless in the face of scandal.

Branding is all about your brand name and how you build, protect and nurture it.

This coming election, be sure to make the distinction between those who just want in and those who genuinely want to serve.

Anything less, and you’ll have only yourself to blame, all the catchy jingles in the world be damned.

Sen. Koko Pimentel’s zombie campaign against fraudulent voters

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BONG OSORIO is an active marketing and communications practitioner, educator, and writer. He currently heads ABS-CBN’s corporate communications department, and is a professor at the University of Santo Tomas, as well as a columnist at the Philippine Star.

CREATIVE JOURNAL DIRECTIONS

SPECIAL REPORT

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Creative Journal Directions

UNIQLO has teamed up with some of the world’s leading creative journals and magazines to produce fashions that are ahead of their time. The editors of publications in 13 different cities have selected some of the hottest local creative talent to design this season’s line of T-shirts.

Uniqlo and adobo’s Creative Journal Directions Seven years ago, adobo Magazine revolutionized the Philippine creative industry with its groundbreaking coverage of the very best in regional and international advertising, marketing and brand communications.

In 1985, UNIQLO began blazing the retail apparel trail with its distinctive selections of comfortable casual wear and accessories for men and women.

2013 will see the Japanese apparel giant team up with adobo as part of its “Creative Journal Directions” t-shirt line, featuring designs from some of the world’s top creatives, as selected by the editors of top international trade journals and magazines.

From the Philippines, as chosen by adobo, is, AJ Dimarucot. No stranger to innovative t-shirt design – having won several design contests over at Designbyhumans.com and Threadless.com and whose clients include Nike, Adidas, and Zoo York – Dimarucot’s entry is a candy-colored piece sure to tickle the funny bone of many a graphic designer.

Watch out for the “Creative Journal Directions” collection in all Uniqlo stores this March.

March-April 2013

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The t-shirt designs 13 publications, 13 designers, a creative collaboration resulting in UNIQLO’s latest collection of shirts

01 DesignTAXI Singapore Alex Goh SGD$15.80

www.uniqlo.com/sg/

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Hong Kong Andy Wang

HK$79.00 www.uniqlo.com/hk/

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02 Computer Arts Thailand Bangkok Jackkrit Anantakul 364.49 Baht www.uniqlo.com/th/

03 Surface

New York Craig Redman & Karl Maier US$12.90 www.uniqlo.com/us/

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Kuala Lumpur Herbie Phoon MYR39.90 www.uniqlo.com/my/

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Seoul Kim Hyungjin 13,545.46 Won

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11 Design 360° China Huang Yang 67.53 Yuen www.uniqlo.cn/

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08 Look AT ME Moscow Vladimir Shreyder 422.89 Rouble www.uniqlo.com/ru/

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Manila AJ Dimarucot PHP526.79 www.uniqlo.com/ph/

Taipei Shieh Chieh Chang NT$380.00 www.uniqlo.com/tw/

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Tokyo Masayoshi Kodaira ¥943 www.uniqlo.com/jp/

London Anthony Burrill £8.25 www.uniqlo.com/uk/

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EV ENTS CALENDAR

RE G UL AR

Events Calendar March-April 2013

April 6-11, 2013

NABSHOW: Where Content Comes to Life

March 8, 2013

Intercontinental Ad Cup

March 3-5, 2013

Festival of Media Asia W Singapore - Sentosa Cove www.festivalofmedia.com/asia ----

Istanbul, Turkey www.thecupawards.com ----

March 10-13, 2013 Dubai Lynx

Madinat Jumeirah, Dubai www.dubailynx.com ----

March 4-5, 2013

6th Student Advertising Congress SMX Function Room 5, MOA Complex, Pasay City www.facebook.com/pages/6thStudent-Advertising-Congress ----

April 9-12, 2013

March 14, 2013

AME Awards www.ameawards.com ----

April 17, 2013

adobo Masterclass Time, Tension and Ideas – The Art of Engagement by Tom Doctoroff Tower Club, Makati Philippines www.adobomagazine.com/ masterclass/ ----

April 18, 2013

adobo Main Course Kung-Fu of Art Direction by Thomas Yang TBA ----

April 22, 2013

Eastwood Mall Plaza, 6:00 PM Philippines

*Nomination and in-book results will be posted on the awards section of D&AD site

1st National Digital Asia Awards

www.globaltronics.net/ndaa ----

Kidlat Awards

Sofitel Philippine Plaza Philippines

Royal Cliff Hotels Group, Pattaya, Thailand

D&AD 2013

www.dandad.org ----

AdFest 2013

www.adfest.com ----

March 21, 2013

adobo on 7th High: 7th Anniversary Party Ad of the Year Awards Buddha Bar Manila Philippines ----

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www.nabshow.com ----

March 15, 2013

March 17-19, 2013

www.pana.com.ph ----

Las Vegas Convention Center, Las Vegas, Nevada, USA

March-April 2013

April 26, 2013 adobo Design Awards Ceremony

Entry Deadline: April 3 Judging: April 16-17 Ayala Museum, Makati City, Philippines www.adobodesignawards.com ----

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ANATOMY O F PO LIT I CAL CHANG ES

R o u n d ta b l e T H E A N AT O MY O F P O L I T I C A L campai g n s

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As the Philippines enters another election period, adobo asked a panel of senior journalists, ad men and PR practitioners for their views on the the anatomy of political campaigns in the Philippines.

With the changing communication landscape, what can we expect from this year’s campaigns?

01 Charlie Agatep Group chairman and CEO/ president of Havas Worldwide Manila and Havas PR Agatep This year's campaign practices will be essentially the same as in the past: Candidates will exploit all channels of communication to establish name and face recall. One difference is that, in addition to buzz and traditional communication, digital and social communication will be intensified.

02 Maria Ressa CEO of Rappler.com It’s tougher with social media.

Rallies, where the message is tailor-fit to the DE market, are being livestreamed. People are tweeting it and so there’s great cynicism in a social media world and the internet world because there the ABC1C2 market are jumping into a discussion where the message that the politician is trying to send to a DE market is going to the AB so they’re developing greater cynicism among AB. So it’s interesting to what will happen in 2013. This will be the first test of social media

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03 Third Domingo CEO of IdeasXMachina There will definitely be an influx of digital and interactive campaigns, but contrary to what we’d like to believe, political campaigning here in the Philippines is still on TV. The digital arena, while mostly ‘free’, is a double edged sword in that netizens can be very antagonistic.

‘Epal’ is very much in their consciousness. This is a tricky situation to let your candidate be exposed in. So the target is the lower CDE market. Do we talk to them on Facebook? My answer is why not. But do TV.

What do we, ideally, want to see from this year’s campaigns?

Agatep I can only speak for myself.

Ideally I would like to see candidates presenting their programs of governance. Then I would make comparisons and vote for the candidates who seek to serve the greatest good for the greatest number.

Cruz-Valdez I would’ve wanted to see new faces but the new faces we’re seeing are scions of the same people. So it’s the same name. Not that they’re bad but, to use the words of [President Benigno Aquino III], it’s really about being inclusive. I like that concept.

German I’d like to see a serious presentation of candidates' positions on relevant issues.

And what don't we want to see?

04 Luchi Cruz-Valdez Chief of NEWS5 It’s more or less the same. There are already a lot of mudslinging going on [with UNA and LP], name-calling even.

Domingo I'd like to see ads with substance and meaning; ads that elevate and uplift the audience, make them happier and more hopeful and confident about voting.

[Also] ads that are funny.

05 Aurelio German Head, Agents International Social media will definitely be used by those running the campaigns of the candidates. This new development in communications cannot simply be overlooked by those seeking to reach out to and exchange views with a wider range of voters.

Ressa It’s hard when you ask me that question, “What else you’d like to see?” I’d like to see greater discussion and debate about policies. But we know that that’s like living in a glass ivory tower. In the end, and neuroscience [will support this], 80% of people make decisions based on how they feel.

Politicians will cater to that

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Ressa Personality-centric campaigning. Unfortunately, that’s the way we, Filipinos, vote. With the lack of political parties and a weak political party system, we have nothing to go on but personalities. We just did a story on the campaign tactics of UNA, which used teleserye, drama and personality-centric. It’s emotionally manipulative to a degree.

Domingo In advertising, we all frown upon the hard sell. And we’d probably rather see more intelligent communication that makes us

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Domingo It has created buzz in the internet. I hope it is creating buzz in the barangays. I like Sen. Koko Pimentel’s commercials. think. This is not the case with political communication where you have to be direct, straightforward, with a clear call to action and most importantly, a very, very big logo.

Sounds like bad and uncreative advertising, right? Nope. This is about knowing your audience.

German Candidates making out like clowns, singing, doing Gangnam moves during rallies.

Agatep I don’t want to see candidates being voted for because of their progeny, or the popularity of their names. I’d ask myself, what have they done in the past? Their track record? Their integrity?

What are the indications that they will serve in the public interest?

Cruz-Valdez What we are already seeing! It’s dirty. One party files cases one after the other. I wonder, it’s been three years since they came to power. This could have been done on the second year.

Sen. Koko Pimentel’s zombie campaign has garnered attention because of its novel storyline and creative execution. What can you say about it?

Agatep It was a shrewd and creative way of campaigning without violating Comelec's rules.

Clearly, his objective was to project his name and face ahead of everybody else (remember: Name and face recall?). He may not admit this, but to ask voters to register is not his job; it is the Comelec’s. And yet, he is not liable. On the contrary you could say he did what he did for the national interest.

Cruz-Valdez I think it’s very creative. The younger voters can relate to it because most of them watch The Walking Dead and play Plants vs Zombies. It’s a great way to educate them on the systems of zombie voters.

Ressa It was a great way to do an ad without doing an ad. It was a great way to do public service, yet it was clear that it also helped him.

Execution was great. But if this kind of creative execution would be transferred to a political ad, it would be effective with a certain class of people, with a certain demographic; it won’t be effective with others.

Political dynasties are once again taking the spotlight.

What are your thoughts on these dynasties?

German This is political reality.

The public’s familiarity with names is a definite advantage.

Ressa Political dynasties are not the main problem for me because they’re just the tip of the iceberg. In general, the Philippines is a small country and the people who have held power is a small group. We have to address access and education. We cannot change political dynasties until you give greater opportunities to more people so that they can then be in a position to challenge it. It’s a vicious circle. Still the problem is good governance and equitable distribution of wealth. The minute we address equitable distribution of wealth, then we address the stumbling block to breaking dynasties because breaking dynasties will happen once you have educated people who make coherent choices and who are not afraid to challenge the electoral process.

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Cruz-Valdez We already have the anti-political dynasty act. It’s so ironic that the people who are supposed to be implementing guidelines for the law are not working on it because they believe that because they have been voted by the people, the people must like them. It’s the politicians’ blind side.

Agatep I am not against political dynasties per se. But I am against electing a candidate who is the son, daughter, cousin or close relative of a person in power. It’s sad that there are so many brilliant people out there who could make this country move fast forward, yet we are deprived of their potential because our party system favors candidates for their kinship with reigning government officials.

Domingo It is a notion proliferated by challengers, not by market leaders. So yes, expect candidates to bank on their family names. We FGD’d two groups: ABC+ and C-DE. Surprisingly, both groups don’t have a problem with political dynasties. In fact, the C-DE group see political dynasty as a plus. To them it means ‘good track record’, ‘may experience na’, and ‘alam mong maaasahan’. Don’t get me wrong here; I don’t like political dynasties myself. But as long as they give the service due to the people, I don’t care what their surname is.

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A month of inspiration with adobo Respected brand-builder headlines Masterclass, award-winner helms Main Course MANILA adobo will host major inspirational and educational events in April, headlined by Asia Pacific’s leading brand-building and creative talents, as well as the annual adobo Design Awards.

brand-building across borders, having worked with clients such as Pepsi, Philip Morris/Kraft and Citibank among others. He has authored two best-selling books – Billions: Selling to the New Chinese Consumer and 2012’s What Chinese Want, distilling what he has learned from more than a decade in Greater China, cracking the supposedly indecipherable code of marketing to the New Chinese Consumer.

The adobo Masterclass will be held at the Tower Club Makati, from 9am-3pm, April 17

Masterclass The April 17 Masterclass will be conducted by Tom Doctoroff, one of Asia’s most respected advertising and marketing professionals who has helped build brands in one of the region’s toughest consumer markets: China.

Doctoroff’s presentation titled ‘Time, Tension and Ideas — The Art of Engagement’ will feature global and localized content on brand-building, providing highly targeted content for chief marketing officers, owners of businesses, advertising agency executives and brand managers.

Doctoroff is JWT’s chief executive for Asia Pacific, the network that produced the World’s Most-Awarded Print Ad of all time with Samsonite’s ‘Heaven & Hell’ campaign from its Shanghai office.

Detroit-born Doctoroff arrived in Asia in 1994, first in Hong Kong and later China. His years in the region have made him an expert in the management of brand architecture and

Main Course Thomas Yang, who will head the jury for adobo’s annual Design Awards, will headline the adobo Main Course with a session titled ‘The Kung Fu of Art Direction’ on April 18.

Yang will focus on print advertising and design targeted at young creatives and students, with Yang sharing the process behind his award-winning and celebrated campaigns.

For the last 17 years, Yang has earned his creative stripes with stints at Lowe, BBDO, O&M, M&CSaatchi, 10am Communications, JWT, before landing at DDB Singapore. Currently deputy executive creative director and head of art and design of DDB Singapore, Yang has been instrumental in the agency emerging as the

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March-April 2013

awarded Singapore agency at Cannes, D&AD, the One Show, Spikes Asia, AdFest and the Creative Circle Awards for three years in a row.

The 2012 Won report ranked DDB Singapore as the Top Press/Print Agency in the World and the second-ranked Agency in Asia Pacific.

The adobo Main Course will be held on April 18, from 9am-12pm. Venue TBA adobo Design Awards Launched in 2007, the adobo Design Awards champions the best in Philippine design and celebrates the talents behind the work.

The competition has raised the stakes for the fourth edition: Work will be judged by a 16-person jury panel comprising advertising and design luminaries and measured against the global standards of excellence.

There is an open/theme category for entries that promote the imagery of Manila’s pop culture and a professional category for work that has been released commercially between February 1, 2012 and March 31, 2013. The competition is open to all enthusiasts, practitioners, freelancers and students of design and advertising.

The deadline for entry submission is April 3, followed by judging April 16-17 and the awards on April 26.

Behind the hype / This article appeared in Contagous issue Thirty Four.

Contagous is an intelligence resource for the global marketing communiy focusing on non-tradiional media and emergng technologes www.contagiousmagazine.com For more information please email the team on sales@contagiousmagazine.com

behind the hype / throwaway moments /

BehiND The hyPe

Throwaway MoMenTs Disposable communication tools like SnapChat are not just effective means for sexting. They're a spotlight on a new culture of meaningfully meaningless transience /

By Nick Parish The behaviours that go along with new technologies make us afraid. When the telephone was first unveiled, people worried its sounds could drive you crazy, or make you deaf. Later, answering machines were thought to surely be a road to disaster: people could tell when you weren’t home and burgle your house. it’s not hard to see a parallel to these reactionary positions with some recent apps, most specifically SnapChat, that encourage off-the-cuff sharing. SnapChat, founded in April 2011, is a nifty little app that lets you share pictures that have an expiration date, measured in seconds. The sender chooses how many seconds (up to ten) the image is available for, can add text or a drawn overlay, then sends it off. The recipient touches the screen, sees the message, then, poof! it disappears.

The immediate response from the media? Sex. A new technology will corrupt the youth, this frequently nude, sexting generation, into more wanton and lascivious behaviour. The scandalous potential of a flirtatious new medium will surely breed all our worst fears. And who more than those in the communications business know sex sells?

SnapChat, now on iOS and Android, hit a billion shared ‘snaps’ in October 2012, coined $8m in venture backing from Om Malik and Benchmark Capital in December, and has been doing upwards of 50 million snaps daily since. in the biggest show of respect, Facebook scrambled to unveil a revamped Poke app, essentially a clone of the service, spending 12 days developing something that’s since been widely panned.

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they were first, which is nice if you like the taste of lowSimilar apps are building around the same limited palhanging fruit. ate: 1 Second everyday gives you a notification at a specific The biggest, scariest part of these disposable moments for time and allows you to record a second of video, which is marketers is the massively limited window they open. For ultimately compiled, after a predetermined period, into a perbrands, durable content is worth the millions of dollars spent sonal evolution video, a strange way to derive meaning. The on it. This is the argument Robin Sloan, who calls himself a maker, Cesar Kuriyama, writes, ‘When i turn 40, i'll have a ‘media inventor’, has made for Stock and Flow content, the one hour compilation that encapsulates my 30s. if i live to Super Bowl commercial being the stock see 80 years of age, i'll have a five hour and the everyday social utterances bevideo that summarises 50 years of my life.’

It's a way to connect ing the flow. you can show a Super Bowl Twitter launched Vine, an app that alwith friends when commercial or an iconic logo 20 years latlows people to share cobbled-together you don’t really have er in a shareholder meeting and it'll still be six-second videos. As with the early Twitanything to say. pretty cool. Odds are a tweet won’t have ter system (which was derided for being as much gravitas. just another way to share what you were Anonymous teen But if you squeeze the weight of the having for lunch) limitations helped fuel interaction down even smaller, do you creativity, with a bare-bones approach wind up with negative gravitas? here you get to the psyand a strategy that seems to be ‘let the network decide’. chological reaction that puts our minds into a puerile state: But back to the sexting. it’s silly to deny different relawhat can be so valuable that it’s worth an interaction just to tionships with technology, information, and socialising have take a peep? Sex. interestingly enough, one of the strongest changed how humans mature around the mystery of sex. it’s digital bits to emerge from the Super Bowl was a Vine post best to acknowledge this as a given, and try to be more erufrom Calvin Klein, a few minutes after the stadium power dite about how technological phenomena make meaning for outage started. it used some b-roll footage from its beefpeople, instead of thinking of them as testing grounds for cake underwear ad to create a sexy Vine post of its own, risqué behaviour. Sex sells, sure, but emerging platforms on running the footage of model Matthew Terry doing sit-ups the web don’t rise from a selling culture, more from a giving with the caption ‘Since the lights are still out…’ The situaand sharing culture. So what does this tell us about the betionally-relevant video, one of more than a dozen tweeted by haviours on these platforms? the brand during the game, was retweeted and favourited around ten times more than its peers.

MOMENTS THAT DON’T MATTER But the sex aspect isn’t for everyone. Sometimes it’s Rather than megabytes of sexually explicit content – stuff about connecting around a feeling, good or bad, that’s tranthat matters a lot – it seems that a lot of teenage SnapChat sient and tiny, and deserves an appropriate container. users, its most active demographic, are sharing the prosaic and pedestrian parts of everyday life. One teen told publishing platform Medium, ‘it's a way to connect with friends when you don’t really have anything to say.’

The idea of a platform for impermanent content, stuff so meaningless and fleeting, is actually really strong. it’s an escape from a schema where every minor participation has to build some sort of credible personal brand, or contribute to a public-facing personality. it stems from the same anonymous urges that push teens to platforms like Tumblr where they can create without the baggage of in-person socialising, but only in a more fragmented way.

SnapChat’s founders, Stanford alumni evan Spiegel and Bobby Murphy, think that way too, posting on Twitter-based discussion forum, Branch: ‘Digital publication is inherently rehearsed, prepared, and composed for an audience. We want to make sure communication isn’t. it’s just more fun that way.’

MINDLESS COMMS it wasn’t long before short test campaigns were developed for both Poke and SnapChat. A Manhattan frozen yoghurt company, 16 handles, used the latter to distribute coupons.

Grey, Tel Aviv, took client Delta Lingerie's one-day tights sale to play the sexy photo card on Poke. Neither of these were terribly thoughtful or well-tailored to the medium, but

the

Kung Fu of

art direction

Thomas Young

Presented by

Thomas yang

Deputy Executive Creative Director and Head of Art & Design at DDB Singapore

The Kung Fu of Art Direction focuses on print advertising and design, targeting young creatives and students who wish to be inspired.

Prepare for a casual but inspiring session with a true master of the arts as Thomas Yang shares his insights as well as the process of some of his award-winning and most celebrated campaigns.

Thursday 18th April 2013 9:00 am - 12:00 nn The Mind Museum J. Y. Campos Park, 3rd Ave, Bonifacio Global City Registration Fee P1,000 (VAT excl) Limited slots on only info@adobomagazine.com TEL 02 845 0218 / 02 886 5351 MOBILE 0906 359 9167 / 0999 983 7403

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Downtime Industry odds and ends

AD-ALIKE

01

02

01

Chesdale Cheese – 2004 “Two times more calcium for stronger bones”.

Source : Cannes Archive Online, Agency : FCB (Singapore) 02

Kraft Foods Cheese – 2008 “With extra calcium for strong bones”.

Agency : JWT Dubaï (UAE)

AD NAUSEUM Client HIV Foundation/ AIDS Council of Finland Agency McCann Worldgroup, Helsinki, Finland

This one raised something of a fuss when it bowed last year. Imagine the pandemonium if they’d thrown in a “POKE” button.

adobomagazine

March-April 2013

M O V I E RE V I E W No. (2012, Chile)

By David Guerrero, Chairman and CCO BBDO Guerrero/Proximity

THERE can be few more heroic portrayals of our profession than this one. And one that will be familiar to anyone who has grown up here. A dictator in power for almost 20 years is forced by international pressure to hold a referendum. Vote ‘yes’ and he stays for another eight years. Vote ‘no’ and he has to hold elections within a year. Of course as dictator he wields all the apparatus of state power.

There is a pliant and willing media. The military and the business community are in his thrall. And the opposition is divided and weak. At the start of the film they can’t even decide whether to take part in the referendum. Some want to boycott. Others want to focus on the crimes of the dictatorship without offering any vision for the future. None imagine that they can succeed. Enter, Gael Garcia Bernal as a young, irreverent creative director. He works for one of the big agencies – whose boss will end up working on the dictator’s team. The only hope the opposition have is the required 15 minutes of airtime a day that the regime has promised to provide.

Of course this will be at some ungodly hour – while

the rest of the day will be devoted to government propaganda. When he is shown the proposed film by the ‘united’ opposition he quickly realizes a grim re-telling of abuses by the current regime won’t do.

His solution – a sunny if somewhat saccharine vision of a future Chile after a ‘no’ vote – horrifies the hardline opposition but sways the majority of them. And he applies what he knows from selling soft drinks and soaps to give them hope. The film was apparently shot in vintage U-matic for a seamless blending of re-enacted and archive footage.

And the entire thing comes off as a highly convincing contemporary portrayal of what may have happened. The film was rewarded with Chile’s first Oscar nomination (for best foreign language film) – which is a striking achievement in itself. But for fellow aficionados of that niche genre – the adman in feature films – this will be a welcome change from Mel Gibson wearing a sanitary pad, Tom Hanks shooting hoops with crumpled up balls of paper into a basketball-hooped trash can and Dustin Hoffman in an asylum. The political situation, advertising tastes and overall environment needs little explanation to those of us working in developing Asia and is all the more rewarding for it.

March-April 2013

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FAVE TOYS Tonypet Sarmiento Chief Collaborator & Founding Member, Havas Media Ortega

I've been a toy geek for quite sometime now. My collection includes the Iron Man Movie Series, which are 12-inch tall figures from Hot Toys.

I get them from a good friend and fellow collector Chris Reyes from Singapore. My wife, family as well as close friends, support my toy lust by giving me toys and figures as presents.

adobomagazine

March-April 2013